Shadowdoom9 (Andi)'s Reviews

Melodic progressive metal has been shaped up in the US by Dream Theater and Symphony X. Then bands from other countries combine the genre with power metal like the Brazilian Angra and the Norwegian Pagan's Mind. And in between is one band from Tunisia that can combine power-ish progressive metal hooks and Middle Eastern vibes, Myrath. They're pretty much the band anyone thinks of when they encounter the phrase "Middle Eastern progressive metal" along with Orphaned Land. This kind of blend shines in both the heavier tracks and the ballads. You can pretty much listen to this while traveling a mystical desert as the winds call your name. That really makes the title of this album quite apt, Desert Call!

Myrath is the kind of band that would likely please the more melodic metalheads than the more extreme ones. It's probably why I waited until my recent return to the more melodic side of my metal taste to check out this band. At least the more extreme metalheads would enjoy Orphaned Land's earlier death-doom material. Desert Call is filled with melodic prog-metal anthems that can lean into rock or power metal but either way place the riffing side-by-side with oriental instrumentation and... Oh yeah, the vocals. Zaher Zorgatti has taken over on vocals that can drift through in both English and his native language. I kinda want more of keyboardist Elyes Bouchoucha's singing though.

From just the first half of "Forever and a Day", you know how excellent things are gonna get. Besides the true vocal power of Zorgatti, guitarist Malek Ben Arbia has taken on some strong riffing not too far off from Symphony X. Bouchoucha's keyboard atmosphere adds a lot as well. And the rhythm section consisting of bassist Anis Jouini and drummer Saif Louhibi help make that rhythmic impact behind the melodies. All of that has given me more hope in my exploration of melodic prog-metal and even power metal, and we're just getting started with this offering. "Tempests of Sorrows" has that guitar groove punching through the vocals, percussion, and oriental strings. The title track is where the band really master the synths, guitars, and bass in another standout.

Next up is the beyond wild madness of "Madness". The guitarwork in the opening is so crushing and frantic before leading into more of the vocals and strings. The dark insanity makes this one of the best tracks of the album. The 11-minute epic "Silent Cries" has wonderful guitar, keys, and percussion. I love it, though I prefer the debut album's epic. We breathe in some lighter air in "Memories", a soft yet progressive ballad. I wouldn't say it's super great, but it's far less generic than the song title.

Then we pump up the heaviness in "Ironic Destiny". And even more in "No Turning Back". There are some certainly some Angra-gone-Middle-Eastern vibes in the percussion and keys. "Empty World" kicks things up high, already sounding really heavy in the guitar within the first 30 seconds. I enjoy the vocals in the chorus along with the powerful guitarwork especially in the solo shredding. "Shockwave" is just full-on progressive power metal, as the atmospheric synths follow suit with the strong catchy metal instrumentation sounding close to Heavenly. And those lyrics are worth rocking out to. Also you don't wanna miss out on the US edition bonus track "Hard Times".

Symphony X and Angra fans wanting to hear that kind of sound come from the Middle East should definitely check out Myrath including this album Desert Call. Almost everything sounds so memorable and unique. It's a step up from their 2007 debut Hope, and the band would only get better in subsequent releases which, despite having simpler song structures and no more of those long epics, are still fun and enjoyable. But for now, hear this inspiring call!

Favorites: "Forever and a Day", "Desert Call", "Madness", "Silent Cries", "Empty World", "Hard Times"

Myrath is one of two leading bands of Middle Eastern progressive metal, the other being Orphaned Land, though the latter started off with a melodic death-doom sound. Myrath's debut Hope shows the band's melodic talent at a young age (guitarist Malek Ben Arbia formed the band when he was 13)...

I would say their second album Desert Call is the start of the Myrath many of us know. Not that there's anything wrong with their 2007 debut of course. Here the band has taken on a more complex progressive sound as opposed to the simpler song structures from Tales of the Sands onwards. It is basically like a Middle-Eastern Symphony X/Dream Theater. Although it doesn't have the same power as their subsequent releases, it can still please any fan of melodic prog-metal from all over the globe.

The short "Intro" has the Middle Eastern synths and percussion you would expect from a band in that region. I feel like exploring the Kharidian Desert in RuneScape with that as the soundtrack! "Confession" brings in those crushing guitars, plus the impressive vocals by keyboardist Elyes Bouchoucha (he would give his vocal role to Zaher Zorgati after this release). What impresses me the most is the Dream Theater-infused bridge soloing. Then we have the lengthy title track. However, there's some deep groove in the shorter "Last Breath" which makes another excellent track. This can really remind some of Allen/Lande, with Bouchoucha having the range of both vocalists.

Then comes the 11-minute epic "Seven Sins" which is pretty much the centerpiece of this album and possibly by the band, as their unbeatable longest song. Everything's progressive in the guitars and synths, even reaching a bit of doom. Elyes Bouchoucha can hit those gritty melodies, channeling hs inner Russell Allen. Near the 5-minute mark is moody bridge, then a minute later some power metallish leads, and another minute later, some beautiful piano. An ambitious and powerful masterpiece of a song!

"Fade Away" is an acoustic/electric ballad which isn't too bad but not great either. "All My Fears" has some rage in the guitars and gang vocals, though doesn't really stand out much. The final track "My Inner War" impresses me with its uncanny mix of Middle Eastern folk, jazz, and metal.

So their debut Hope can impress the more progressive metalheads, but it doesn't have the glory of their later albums. Still, giving metal an ethnic twist is definitely worth putting this band in the melodic prog-metal league. Some songs aren't so strong, while others show their tight might and talent, especially in that middle epic. Hope is a solid place to start listening to this band, though their subsequent releases are where you might find more hope....

Favorites: "Confession", "Last Breath", "Seven Sins", "My Inner War"

The brand-new 5th album by Lovebites was released on the year of their 10th anniversary. To summarize their decade of activity, their Euro-infused power metal sound is some of the best I've heard in the genre, and the best is in their era with ex-bassist Miho, especially their debut Awakening from Abyss and the EP Battle Against Damnation. The two albums that make up their new era with current bassist Fami can't reach the incredible epicness of their earlier material, but they still deserve their high marks. In fact, I would say Outstanding Power is almost near that 5-star perfection, being more consistent than Judgement Day and trying some things new and unique. Newique!

For starters, Oustanding Power has a darker sound with some slight restraint. That being said, Midori and Miyako are still on fire with their guitar shredding. Haruna hits her drums with all that strength and power. And we can't forget the soulful siren-esque vocals of Asami. She seems to be going for more of a mid-range style of singing, rather than her upper highs of yesteryear. That's good because there's more variation in her melody, and less chances of straining her voice before more of their live shows.

Here we start with "The Castaway", which shows the fantastic direction in their power metal sound. If "Addicted" is "Shadowmaker 2.0", then we've just gotten "Shadowmaker 3.0", and a more melancholic highlight at that! "Silence the Void" adds some awesome thrashiness to their power metal. "Forbidden Thirst" continues that with more melody. Some surprises come up in "Blazing Halo" which is a rather mixed track. It's the first song written by Fami and the first to be under 4 minutes. While the arrangement doesn't seem the best, I enjoy it after listening for some time.

Heaviness and melody combine in the pleasant standout "Dream of King". Now I enjoy upbeat songs, but "Phoenix Rises Again" seems a little oddly written and sounds like it could better performed live than in studio. "Out of Control" is quite strong in the riffing and chorus, working well with its rock-on sound. Some bits of the uplifting power metal of Helloween and DragonForce can be heard in "Wheels on Fire", but it's closer to classic hard rock/metal territory than anything else here.

"The Eve of Change" brings back the power metal side of Lovebites that they're able to execute greatly. The best part of their sound when they really crank up the thrash vibes, as heard in "Reaper’s Lullaby". This is probably the fastest, most extreme song Lovebites has done! A top-3 song for this album, though it would be surpassed one more song at the end. But before that is the overlong Asami-written ballad "Eternally". It's not bad though a little too soft for an over 7-minute epic. Closing things off is "One Will Remain" which is total DragonForce-esque power metal perfection. Even the closing tracks of Awakening from Abyss and Judgement Day can't beat that diamond gem!

Outstanding Power continues the path of resurrection started in Judgement Day. Even without the songwriting and bass skills of Miho, there's still hope for the band to carry on into their second decade. Outstanding Power is slightly better and more consistent, with the highlights here being potential live staples. I can definitely predict some compositional expansion in the near future. You up for female power metal without symphonics? Then don't miss out on this outstanding band of metal heroines!

Favorites: "The Castaway", "Silence the Void", "Dream of King", "Out of Control", "Reaper's Lullaby", "One Will Remain"

Lovebites' era with bassist Miho has some of the best modern-day power metal material I've heard recently. Almost every song is an absolute gem, with very few tracks that are bad or even mildly good. Some of my favorite songs by the band are the ones written by Miho who had to leave the band in 2021, causing the band to take a small break to look for a new bassist. They eventually hired the young Fami. She and the rest of this spectacular band consisting of vocalist Asami, guitarists Midori and Miyako, and drummer Haruna, stand strong with another amazing album Judgement Day! Not as perfect as most of their material with Miho, but still brilliant.

They've pretty much picked up where they left off in Electric Pentagram and Glory, Glory to the World, having their usual Euro-infused power metal sound with occasional dips into classic hard rock/metal and speedy thrash metal. The total length is about 3 quarters that of Electric Pentagram, which is convenient because of how compressed the mastering is this time around. And as for the songwriting, Asami has started writing more than just pop-ish songs and ballads.

Opening track "We are the Resurrection" is a fantastic way to usher in their new era. The chorus has so much drama and triumph. That makes that highlight the best one of the album, and we're only just getting started. Melody and aggression unite in the title track, which has proven Asami expanding her songwriting comfort zone. Lovebites has more of their Blind Guardian-esque power metal in "The Spirit Lives On". Although nothing's ever weak, "Wicked Witch" doesn't connect well, but it's still fine. That's where we start seeing the band's glory being toned down a bit in the Fami era.

Next up, "Stand and Deliver (Shoot 'Em Down)" is more aggressive with a great chorus to engage live crowd, particularly in those gang vocals. With that, I consider it the "Raise Some Hell" of this album. Continuing the thrashy vibe is "Victim of Time" in the crushing guitarwork while maintaining the melody. At this point, the band needs a song to break up the speed, and thus we have "My Orion". The tempo is slower but quite upbeat. It's no ballad or semi-ballad like "A Frozen Serenade", but it works.

There's some theatrical brilliance in "Lost in the Garden". Asami has some of the most emotional vocal power here. "Dissonance" rips through heavy dissonance. Finally the melodic end track "Soldier Stands Solitarily" speeds through melody and intensity to make another spectacular standout. Cool neoclassical soloing by Miyako too!

Judgement Day has excellent consistency, and while it may not beat their other releases like Electric Pentagram, they've made a greater comeback than one would expect. Fami's bass is as prominently used as Miho's, which shows the band's justice for their bassists. No matter the slight turbulence, Lovebites shall be hailed as the best Japanese power metal band of this decade. Lots of firepower in this album, so listen before you judge!

Favorites: "We are the Resurrection", "Judgement Day", "Stand and Deliver (Shoot 'Em Down)", "Lost in the Garden", "Soldier Stands Solitarily"

Around the time I'm making this review, the COVID pandemic has started to die down a lot. We're all going back to our normal lives, and bands have gone back to performing live shows. The only times people wear masks nowadays in when they have the virus which is much milder than when the pandemic firs started. But why am I talking about that here? Well, I'm about to bring up how it all went down in the perspective of one of many bands hit by this world-changing phenomenon...

Lovebites' tour for Electric Pentagram was cut short by the pandemic, with shows postponed or cancelled. However, that didn't stop the band from being productive. They wrote a theme song for an anime and starting working on a new EP. Glory, Glory to the World has given us some light in the darkness!

To start this 4 or 5-track EP, the opening title track blasts off with the guitarwork of Miyako and Midori, performing their tapping and shredding, sounding better than before! That motivational anthem has given listeners hope in these blighted times. "No Time to Hesitate" has fun energetic tricks that sound borrowed from Motorhead. Asami's vocals are so clear here, as is the bass by Miho (who by the way would leave the band after this EP). There's just so much greatness the band has made in a 4-year span.

Next song "Paranoia" has more progressive drumming by Haruna, filled with polyrhythms. "Dystopian Symphony" is where everything is so emotional, from the fast guitars and drums to the emotional keys and vocals. It's all performed sufficiently, and it makes another highlight. There's one track that isn't part of the original EP but ended up becoming a limited edition digital bonus track, "Winds of Transylvania". It was original written as the theme song for the anime Vlad Love, and I think this is the closest anime fans are gonna get to the fast beat and guitar tapping of DragonForce. It's one of their fastest and most thrashy songs that I love. VLAD LOVE!!!!

I always thought DragonForce was one of the very few bands that could pull off speedy power metal mixed with elements of prog, thrash, and melodeath, the latter two especially in Reaching Into Infinity. But now I know that Lovebites can do it too and they rule at that! They have quite the streak going on when it comes to masterpiece releases short or long. I think it's clear that the international part of their fanbase is the amount of ocean cover the earth, around 70%. The world has been blessed with their glory, Glory to the World. It's another chapter in their spectacular journey. And even with that EP being the last with bassist Miho, they would carry on with a new one and still sound as memorable as ever. I'll just end this review by saying.... Glory to Lovebites!

Favorites: All songs especially "Glory to the World", "Dystopian Symphony", and "Winds of Transylvania"

Anyone looking for some classic heavy metal revived by a new band from this decade or the last would probably choose Eternal Champion. It's their call, but I'm looking for metal that can really get me f***ing hooked. That's where Lovebites come in. Although I've only been listening to Lovebites for a few months as of this review, that's enough time for their albums to grow on me. Electric Pentagram may just be the best album by the band in this decade, just a notch above their next one Judgement Day!

Electric Pentagram may be a little cliche in the title, but the music sure as f*** ain't! Their classic-infused power metal has more of their speed/thrash-esque side and J-pop spponfuls than before, resulting in more versatile originality. Even with a total length of 70 minutes, I wouldn't change a thing.

We get into a promising start with the thunderous "Thunder Vengeance", speeding through the fast guitars, keys, drums, and vocals, and letting those 5 and a half minutes fly by in this fun ride. But we get a real f***ing highlight in "Holy War". I've reacted in total awe the first time I heard it. That should've been the single instead of the next track "Golden Destination". Not that there's anything wrong this track. In fact, the riffing sounds much more Iron Maiden than Iron Maiden past their prime years. And so far, this album is already at the verge of getting an A+++, even at its first quarter. "Raise Some Hell" is more brutal without ever descending into full-on nasty death. It has a sh*t-ton of thrashy attitude in the music and lyrics. They're really utilizing their skills at their finest there.

"Today is the Day" opens with synthy ambience then unleashes a wild riffing stampede. Now if you really wanna get the live crowd engaged, "When Destinies Align" has it all done right. "A Frozen Serenade" is the best anthem for the rising of female metal. Why do I say that? Well, listen to the harmonies, riffs, and keys that all level up the verse-chorus structure. This is proof that Lovebites can do all that and inspire other all-female metal bands to do the same. It's a whole new generation that shall be welcomed! "Dancing with the Devil" is a cool way of modernizing 70s rock/metal.

"Signs of Delieverance" is a true f***ing keeper. And I can almost say the same about "Set the World on Fire". Drummer Haruna can actually perform blast beats as proven in that track. Asami somehow sounds slightly weak there, but that doesn't affect much. There's also 6 and a half minutes of glory in "The Unbroken", and you might think of VAN F***ING HALEN. "Swan Song" has a flawless connection between guitar and piano, and that ending is so spectacular, a better way out than in the previous album.

I can understand Babymetal being the most popular Japanese all-female metal band today, but that's the kind of recognition Lovebites really deserves. Give them your love and support. Check out their grand discography. You don't wanna miss out on such a fantastic band!

Favorites: "Holy War", "Raise Some Hell", "A Frozen Serenade", "Signs of Deliverance", "The Unbroken", "Swan Song"

Lovebites has started off their career in a faster pace than other power metal bands, releasing an EP and an album per year for the first couple years. That's one and a half times faster than Mechina who used to follow the "release one album per year at the start of the year" pace. And what's more impressive is, they've toured throughout those years as well. I don't know if they were actually recording in studios or on the road. And even more impressive is how much the releases are high-quality masterpieces. In saying that though, Clockwork Immortality is a slight step down from Awakening from Abyss. Obviously there's nothing sh*tty, though a couple tracks show the adrenaline wearing off a bit after that rushy pace. Still it's worth listening to with every spin helping it grow like a motherf***er.

I'm still quite pumped up for this thanks to the band members and what they can do. We have the guitar shredding from the duo that is Midori and Miyako, with solos that you can certainly headbang to, maybe even dance to! For those who think ladies can't shred, you've thought WRONG. The solos are often so long (almost as long as DragonForce) that vocalist Asami can do anything to pass the time before heading back on queue to sing her heart out. It just proves that you don't have to make pop-sounding songs lasting under 4 minutes to be successful. This dynamic band shall not be restrained!

Their influences from Euro-power metal shine in "Addicted", which pretty much shows that the sound they've had in their debut hasn't gone away. It's the "Shadowmaker" of this album! Then "Pledge of the Saviour" levels up the intensity while being a slightly slower anthem. "Rising" adds more variety from both the local and international scenes, as they continue waving the flag in a battle for freedom and diversity.

There's no sign of the band crashing out, though "Empty Daydream" may have a slight hint at that. Sure the instrumentation is awesome as always, but I feel it could've been made better for this album to step up towards perfection. Luckily, it is followed by one of my favorites here, "Mastermind 01". It throws around some d*mn thrashy punches with its riffing aggression. Asami's vocals are perfect here, having her "take no sh*t" attitude. Nothing but kick-A punky metal rage in that highlight! "M.D.O." continues that thrashy energy. And for those wondering it stands for, it's "Most Destructive Outset".

"Journey to the Otherside" doesn't do much to stand out, other than having River Styx-laden lyrics. My ultimate favorite track here has to be "The Final Collision". What's surpising is, it sounds closer to hard rock than the power metal that I prefer. It's helped out by Asami's fantastic vocals especially shining in the majestic chorus. Incredible guitars by Midori and Miyako as well, particularly in the different harmonies and soloing. Well done! "We the United" shall really unite the live crowd. Finally, we have the 7-minute power ballad "Epilogue". Now I like this one, which shows that my appeal for ballads has grown over the past few years. I guess that's something to expect as I get older (currently age 27). It's not enough to be a total highlight though. Also the outro has the same theme as the opening track, bringing the album to full circle.

If that track and at least one other track had some slight improvement, Clockwork Immortality would've been a perfect album, but nonetheless, it's an excellent follow-up to their debut. There was concern about if the band would tap out if they continued their fast creative pace. Fortunately, they took some time in making their next album Electric Pentagram which came out in early 2020. Anyway, not every power metal band has to be male fantasy warriors ala Rhapsody of Fire. These ladies who may look to some like a dressed-up J-pop group can unleash some killer metal tracks. Nothing different from Clockwork Immortality, yet they've rightfully kept sailing as an unstoppable force!

Favorites: "Addicted", "Pledge of the Saviour", "Rising", "Mastermind 01", "The Final Collision"

I'm quite late in the Lovebites hype. I haven't discovered this band until 10 years after they formed. Probably because by the time people started hearing of that band in around 2017/2018, when I was abandoning my earlier melodic metal taste for the more modern heavier genres. I didn't know much about Lovebites until a certain Beyond the Black hit featuring vocalist Asami that made me up for that band. I'm glad that happened because they make some of the best modern-day power metal material today!

It only took the band a year to release their self-titled demo EP and their debut album Awakening from Abyss, both of which blew my mind the first time I've heard them. And now my mind is blown away by their next 4-track 21-minute EP, Battle Against Damnation! This shall help cement Lovebites as the best band in modern-day Japanese metal.

Blasting into the past is "The Crusade" with some Maiden-infused guitar melodies. "Break the Wall" has some thrash flavor to remind some of Testament. These ladies have really paid homage to the bands they seem to admire to make something new and original. The keys in the bridge sound so beautiful, fitting well for when the drums calm down after all that fury before then.

The second half show different sides with the titles suiting each occasion, starting with "Above the Black Sea". After a neoclassical tribute to Sergei Rachmaninoff, there's more of that Euro-style power metal. "Under the Red Sky" has the right blend of intensity and beauty. The different contrasts make another masterful gem from this band.

European and American metal have been spreading over through so many countries for decades, and those bands pay tribute to both the past and the present. Because of that, metal is far more diverse than possibly any other genre, and it shows. Lovebites has helped out with the genre's massive expansion by adding in their unique sound. They have proven the haters wrong. It's a battle this band and many others have won!

Favorites: All songs especially "Break the Wall" and "Under the Red Sky"

The 2010s saw the rise of the modern Japanese all-female rock/metal scene, with bands like Aldious, Band-Maid, and of course, Babymetal. To be honest, those bands haven't really caught my attention enough for me to totally check them out, but will they someday? Possible. Just possible. And perhaps even more possible thanks to one band that shall bring new light to the scene, Lovebites!

Here we have a unique band putting a new twist to the world of Japanese power metal. They can shred faster than light, and vocalist Asami is so widely-ranged, going high and low without being stuck on one side. Do I want more of this band and especially their debut Awakening from Abyss? H*LL F***ING YES!!!

"The Awakening" is the two-minute orchestral intro which was specifically composed to use as the band's entrance music for live shows. The metal instruments don't enter until there's one minute left in the intro. And they don't let down when it segues into "The Hammer of Wrath", sounding thrashy with some oriental elements in the vein of Myrath. The aggression doesn't stop, carrying on into "Warning Shot". Then "Shadowmaker" is a grand example of the band's sound, revamping the 80s/90s heavy/power metal sound with something new and modern. I can definitely hear some Stratovarius in the melody. The rhythm section is in perfect execution via drummer Haruna and bassist Miho, both formerly of Destrose. The guitar duo Midori and Mi-ya perform intense guitarwork. And there's more of the gorgeous vocal dynamics of Asami.

"Scream for Me" is the first 4 songs re-recorded from the band's self-titled demo EP released earlier that year, having more kick-A riffing that's kinda bluesy but at the same time too fast for blues. This upbeat punky vibe works well while staying metal. Miho's bass is stronger and more audible, and holy sh*t, does it slap! The haunting "Liar" was originally written for a metalcore band Mi-Ya was in, A Drop of Joker, before that band broke up. "Burden of Time" may remind some of Motorhead in the riffing. That kind of riffing can really be heard in the choruses that are filled with both beauty and rage. "The Apocalypse" was also re-recorded from the EP, and it gives their power metal sound a thrashy edge, especially in the guitarwork. And g****mn, Asami has such majestic emotion in the chorus. I love that one! While a lot of the album has perfect glory, "Inspire" is kind of a close call for the 5-star rating, sounding a little pop-ish. Luckily, the drums and guitars still have heavy insanity, and the vocals and keys show up at the right times.

"Don't Bite the Dust" is another interesting highlight, as the riffing melody comes off as Iron Maiden gone J-rock. Asami's superb vocals fly over the groovy sounds of Hammond organ alongside the metallic guitar. And with her impressive octave jump after the final chorus, this band has already made a massive start with the original version from the EP. After all that fire and fury, things slow down for the passionate power ballad "Edge of the World". Well, it starts off as a ballad, but as we head deep into the second half, it becomes much less than that. Soon it has more of the speedy power metal of Blind Guardian, with some background keys to top it off. Quite a progressive epic, but it can't beat the final one... The 6-minute finale "Bravehearted" is another fast power metal track. Everything sounds so bombastic and it would make you want more from this band. This fantastic track has more power in this version than in the EP, along with English lyrics. And honestly, Asami sounds quite smooth here. Sometimes the English language works better than the native tongue, for her and some listeners including me. Wonderful ending track!

Y'know, I still can't believe I haven't discovered Lovebites until just earlier this year. Probably because by the time this band started to rise shortly after this album came out, I was moving away from power metal in favor of the heavier modern metal genres. Now if there's someone for me to thank for getting me interested in Lovebites, it would be Beyond the Black with their song "Can You Hear Me?" featuring Asami. Her vocals made me up for her band before I've even seen what they look like. And that's good since people seem to think they're a J-pop band before even hearing their actual music. Those rippin' riffs and melodies should not be missed out on. So go ahead, give them a try!

Favorites: "Shadowmaker", "Scream for Me", "The Apocalypse", "Don't Bite the Dust", "Edge of the World", "Bravehearted"

What's the first thing that comes to your mind when you hear the phrase "Japanese all-female metal band"? Around 90% of the time, the answer would be Babymetal. The remainder of that amount would have a different band in mind, and for me, it would be Lovebites. The band was formed by bassist Miho and drummer Haruna after the disbandment of their previous band Destrose. They have the f***ing incredible talent and beauty you would expect from this kind of band. I can say the same about guitarists Midori and Miyako. Well that was at the time when Miyako was more of a session member than full-time. She has also pulled off some serene keys. And of course, we have the lovely smooth vocalist Asami. She has both power and accessibility in her voice that has won fans both metal and non-metal.

Named after a Halestorm song, Lovebites entered the studio to record their 4-track self-titled demo EP. And let me tell you, they were on f***ing fire in both the music and the recording process. With grand production and record label support, they already have what it takes to make an EP that would launch them into the charts at lightspeed, which came true when this release has already reached Oricon and Billboard. It's amazing how much their metal tracks sound like potential hits. I haven't DragonForce-speed songs that would fit so well in anime since some of Galneryus' material. It's just so wild!

"Don't Bite the Dust" kicks things off interestingly, as the riffing melody comes off as Iron Maiden gone J-rock. Asami's superb vocals fly over the groovy sounds of Hammond organ alongside the metallic guitar. And with her impressive octave jump after the final chorus, this band is already at a massive start. "The Apocalypse" is my favorite of this EP, giving their power metal sound a thrashy edge, especially in the guitarwork. And g****mn, Asami has such majestic emotion in the chorus. I love that one!

"Scream for Me" has more kick-A riffing that's kinda bluesy but at the same time too fast for blues. This upbeat punky vibe works well for this band while staying metal. Miho's bass is stronger and more audible, and holy sh*t, does it slap! The 6-minute finale "Bravehearted" is another fast power metal track. Everything sounds so bombastic and it would make you want more from this band. However, I feel this song has more power in the version that appears in their debut album Awakening from Abyss. The EP version also has Japanese lyrics (the only song from the band to do so), written by Haruna for Destrose. I prefer the more understandable English lyrics, no disrespect.

I wouldn't say Lovebites have reinvented the wheel, but they have put their work in enhancing the Japanese all-female metal wheel. Lovebites has proven that their vision as a rising band that's more than just a Destrose spinoff would become a reality. And the songs in this EP are so glorious that I would've given it 5 stars, if not for the Japanese lyrical usage in one of their songs, again no disrespect. I just think Asami sounds better when she sings in English, and luckily she has that chance in every other song. Also this is the kind of band I can say I'm obsessed with without sounding, well, weird, unlike a band like Babymetal that became popular as a teen group. So yeah, a promising energetic start for those wonderful ladies determined to change the future of Japanese metal!

Favorites: All songs (despite the odd Japanese lyrical usage), especially "Don't Bite the Dust" and "The Apocalypse"

Whenever a band changes their logo after 25 years, they're bound to get some feedback about it from their fans, some good, some bad. Such is the case for Lamb of God with the cover art of their new album Into Oblivion. And I gotta say, I'm somewhere in the middle there. I wouldn't say it's bad, but it does look a little clunky. However, I love the more futuristic and comic-like art itself. Perhaps their first time taking the comic-esque approach since their one album as Burn the Priest (and less violent too).

As for the actual album, Into Oblivion is pretty much their best album I've heard in years! Even though their earlier albums sounded impressive to me when I was listening to them over 5 years ago, especially their 2000s material, a lot of their appeal ended up worn out. Into Oblivion redeems it all with furious anthems that can cut like a knife.

The title opener unleashes the band's dark heavy thrashy groove metal sound without losing steam. "Parasocial Christ" infuses their sound with the beatdown metalcore of Kublai Khan, along with Randy Blythe's vocals getting deeper and meaner. The bridge and guitar soloing throughout the 3rd quarter is a killer throwback to their 2000s era. Soloing is uncommon for this band, but Mark Morton never misses his mark. The first single of the album is "Sepsis", this one more sludgy as well as having vivid lyrics, "Holy Mother Death, rising up from Mexico". It's not until halfway through when the song really speeds up, blasting us with their heaviness from the mid-2000s. "The Killing Floor" is more labyrinthine in the riffs and rhythms, all getting harder in every bite.

"El Vacio" shows more of the band's dark side. Vocalist Randy Blythe performs some clean singing, and he sounds better at that than any of his earlier attempts, flowing with the melancholic yet sinister clean guitar. The lyrics pay tribute to the late Oderus Urungus of GWAR, even referencing one of that band's songs in the second chorus. The lyrics may also be in memory of the late Brent Hinds of Mastodon, after his fatal accident in the time of the album's production. RIP them both... "St. Catherine's Wheel" is quite spine-chilling as the riffing power roars on. "Blunt Force Blues" punches through with all its raging glory and malevolent groove.

Next up, "Bully" has more twisted riffing momentum as Randy declares "You lay down with dogs and you rise up with fleas". Then "A Thousand Years" makes another melodic detour that fits well with the destructive riffing and lyrics. Closing track "Devise / Destroy" charges with more of the crushing riffing and vocal fury. The bonus track "Wire" should've been in the actual album. The thrashy instrumentation reminds me of 2000s-era Annihilator.

Whether or not you may agree with the album's first impression that is its cover art and new band logo, Lamb of God are still at the top of their game. The band I've last heard of via VII: Sturm Und Drang and their Burn the Priest cover album have leveled up their creativity. Into Oblivion shall give more hope to the metal world in this decade!

Favorites: "Parasocial Christ", "Sepsis", "El Vacio", "Blunt Force Blues", "Bully", "Wire"

I've checked out both releases by Excessive Force before when they were a German industrial band. But did you know that they relocated to California and switched to early straight edge metalcore? It's hard to imagine a band changing from industrial to metalcore in the 90s. Probably because I'M KIDDING!!! That's not really what happened! This is an entirely different band with a similar name. There are already a few bands out there named Excessive Force, one other being a white supremacist band.

The 90s straight edge metalcore band Excessive Force made one of the heaviest albums of the scene at that time. It's all within the vocal fury, riffing punches, and drumming assault. And that drumming style would plant the seed for later bands of that genre and maybe even, dare I say it, nu metal.

"Those Who Were" already shows the drumming wrath by Justin McMahon, with the groove and the guitar riffing going well together. The instrumentation is definitely worth moshing to, including the audible yet dirty bass and abrasive vocals. Now for "Distress"... As of writing this review, I've watched Zootopia 2 yesterday and an outside-world friend of mine told me about how dark and violent it is for a Disney movie. Sorry but he's wrong. There's far more darkness and violence in this track, in both the music and lyrics ("I'm breaking the chain and I can hear the bones breaking"). An anthemic mosher! Next, "From Within" is a shorter track that adds some deathly riffing to the metalcore. Proto-deathcore!? Then we have the more hardcore "Backtrack" that ends with a crushing breakdown.

We're already approaching the second half of the album as "Vengeance" makes its mysterious entrance, leading into solid riffing. Vocalist Dan Gump repeatedly declares "Never will I follow blindly!", and some Sabbath-like sections are in great balance with the faster parts. Well done! Then "Misfortune" is one of, if not THE best track here. It's quite strong in the lyrical message of self-reflection and the kick-A riffing. The heavy drumming is also irresistible. Heading deeper in the lyrics is "Judgement Day". Here the music is more melodic while still dark and heavy.

The title track is interestingly the shortest one in the album and placed towards the end while not being the final track. The music and lyrics are absolutely earth-shattering and make another brutal highlight. "No Excuses" actually doesn't sound too far off from Underoath's earlier more extreme material, though don't expect any of the more blackened aspects. "Forwarned" is an unlisted hidden track which has some of the melodic yet brutal riffing later used by As I Lay Dying and For the Fallen Dreams.

I think I would appreciate it more if that hidden track was listed and placed before that 5-minute epic. That would really make In Your Blood the awesome offering that is has potential to be. It's sad that both this band and the German industrial band Excessive Force are no longer active beyond a couple releases, but let's enjoy them while we can!

Favorites: "Those Who Were", "Distress", "Vengeance", "Misfortune", "In Your Blood"

For those of you not familiar with Circle of Dust, their best album Brainchild wasn't originally made under that moniker. In 1992, founder Klayton worked with Doug Mann on a different project Brainchild, releasing their sole album Mindwarp. The next year, R.E.X. wanted another album by Circle of Dust, but because most of the money was already used for the Brainchild project, Klayton decided to have Mindwarp re-released in 1994 as that second Circle of Dust release, with Brainchild becoming the album title.

Upon coming across this album when it got added to this site, I knew I had to check it out to put my Circle of Just journey in full circle. Mindwarp is an excellent album that I love almost as much as the Circle of Dust one! The only differences are in 3 tracks. Two of them are better here, and the other one is not bad but could've been improved.

We're already getting into the band's different heavier sound in "Cranial Tyrant" which is like a more upbeat Godflesh. "Telltale Crime" is a highlight a lot more people need to hear more of. This edition has an audio sample from Geraldo Rivera in the intro that was then removed for the Circle of Dust album. That actually makes it more eerie, and I love it! "Prayers of a Dead Man" is not as great or metal as the Circle of Dust version. That's the track that I wish could've been improved. "Regressor (Aggressive Mix)" has many audio samples like this one from Robocop 2, "HE'S A KILLER, I SAW IT!" Anyone more familiar with Klayton's current more famous project Celldweller can be pleasantly surprised by his work in Circle of Dust. There's also a remix of that track by Battlejuice.

"Enshrined" is more industrial, way different from the heavier modern metal bands I enjoy like Imminence and Sylosis. Then there's "Course of Ruin", a highlight of heartful aggression. Klayton made quite a brave statement for America in this highlight "Descent". The future of America is the country citizen's hands...

"Deviate" I dig much more, probably even more than how Circle of Dust has done it, sounding strong, even without the midsection commentary. Klayton has done an amazing job combining the industrial metal and samples of Ministry with Slayer-like thrash. The remastered version gives the song fresher dynamic. You can headbang while playing the air-guitar and starting a mosh pit! The "DON'T MAKE ME USE THIS!! ONE STEP CLOSER, I'M WARNING YA!" part is from Ren and Stimpy. It's a little shocking that this band is of Christian background, though I'm speaking as someone who is not Christian. This is more for those who want to destroy everything in sight, in video games, of course. "Who's got the shotgun!?" Another superb track is "Pale Reflection" if you're up for some loud distortion and Blade Runner samples. I just love the gothic-ish industrial metal finale "Aggressor (Regressive Mix)", especially the whispered screams and samples, "Behave yourself!"

So how does Mindwarp compare to the Circle of Dust album? I say it probably would've made more sense if Klayton re-recorded the entire album instead of just 3 tracks, because then the two albums would've sounded more like separate entities rather than one album credited as two artists. But since I absolutely love the Circle of Dust album, I can't really complain about this one. Though if "Prayers of a Dead Man" was made as metal as the Circle of Dust version, the Mindwarp album would've been perfect as well. Still it's worth checking out for all Klayton fans!

Favorites: "Telltale Crime", "Course of Ruin", "Descent", "Deviate", "Aggressor (Regressive Mix)"

If you thought Colors II was the most anticipated BTBAM album, that would then be surpassed by this one, The Blue Nowhere! The album came out last September after a long 4-year interval. It is partly due to their separation from longtime rhythm guitarist Dustie Waring. After finding out about some sexual abuse allegations towards him in 2023, the band began touring without him. The allegations were proven false, and Waring suspected that it was all part of an extortion plot against him, as well as his firing being for unworthy reasons. With that, he threatened to sue the band. Long story short, the matter dropped and the band continued with a touring replacement in Tristan Auman. Waring was pretty much almost as salty as Mastodon guitarist Brent Hinds was after his departure from that band (before Hinds' tragic death, RIP). For this album, The Blue Nowhere, founding lead guitarist Paul Waggoner performed all the guitarwork by himself. It takes a real music examiner to tell the difference between Waggoner's rhythm guitar playing and that of Waring. Either way, although there can be some slight predictability that made me burned out of BTBAM in the first place years ago, we have another terrific display of the band's deathly progressive metal/rock that they've mastered since Colors.

Keeping up their conceptual tendencies that they had since Colors, the album is set in the eponymously titled hotel The Blue Nowhere. It dives into existential quandaries in a more abstract form of storytelling, as abstract as that Star Wars Visions short "BLACK". Those lyrics are, as usual, sung and growled by vocalist/keyboardist Tommy Rogers, and they take on thoughts that range from fleeting to chaotic. They're not about the story, but rather about the feeling. As you listen, you can imagine yourself in your own world away from reality, one that only you and no one else would know.

"Things We Tell Ourselves in the Dark" opens the album as both the first track and single. It's one of the most enjoyable tracks in years. It kickstarts the album right away without an intro, and doesn't follow the heaviness of the two Colors albums, but instead the wackiness of the albums in between. The song has a modern take on 80s prog, blending those bouncy hooks with doses of technical chaos. And the vocal interplay really heats it up. Then the band goes more industrial in "God Terror". The riffs, vocals, and percussion leans into something Pitchshifter would do. "Absent Thereafter" is the first of three 11-minute epics, and boy does it hit hard! It sounds so heavy while adding in some funk and other genres. It's basically almost this album's equivalent to "Ants of the Sky" and "Disease, Injury, Madness"!

"Pause" is an aptly titled pause from the action with just synthy ambience and soft yet mysterious singing from Rogers. "Door #3" has darker groove and more mental-sounding vocals by Tommy. All this makes the sound like a demented carnival. Also while I enjoy his occasional falsetto, it can be a little annoying when appearing out of nowhere. I guess that's one reason why I can't add that half-star needed for the album's perfect score. "Mirador Uncoil" is one more short interlude. I don't have much to say about that one. The second 11-minute epic "Psychomanteum" has fun energy. When Tommy Rogers bellows the song title "PSYCHOMANTEUM" at the two-minute mark, that really hit me hard, along with the h*lla heavy riffing less than a minute later. A minute after that, the extremeness is lowered down for some soft beauty. That goes on for a couple minutes, rising up to a brief wacky moment of drums, piano, and vocals. Some of that heavy riffing hits less than a minute later, heavier than the earlier riffing. Nearly a couple minutes after that, the soft beauty comes back in the form of Opeth-like ambience and guitar fiddling by Paul Waggoner, followed by more of that beautiful mood.

"Slow Paranoia" is the last 11-minute epic. As much as I enjoy this one though, I start to realize how self-copied it is. It's still wonderful, yet some sections sound like they've been done to death. That track can appear in any of the band's past albums, and no one would bat an eye or ear. With that, while this album won't reach a perfect 5-star rating from me, the 4.5-star rating is still intact. This is especially the case for these final two tracks that should've just been indexed as a two-part 14-minute suite, probably greater than the epics from the previous few albums (Coma Ecliptic, Automata, Colors II), starting with the title track. It's one of the catchiest and most radio-friendly songs by the band, like a classic-sounding ballad that I actually love. Other progressive metal artists that would do that are Devin Townsend and Haken. "Beautifully Human" ends it all by reflecting on everything the band has had here, all in the guitars, keys, vocals (both clean and harsh). Thus concludes another journey on a high note!

The Blue Nowhere can very well attract newcomers to the world of BTBAM. It can also impress longtime fans, though a little more originality would've been ideal to make this album 100% percent and get me back onboard that train. Excellent but too familiar, like having fast-food two or 3 times per week (eat healthy, kids and adults!). Nonetheless, BTBAM have made their excellent comeback, even after cutting ties with one of their longtime members. I don't know what will come next for them, but I can't wait!

Favorites: "Things We Tell Ourselves in the Dark", "Absent Thereafter", "Psychomanteum", "The Blue Nowhere", "Beautifully Human"

Who would've thought epic blackened deathcore would make a global impact as it has in the past few years? In the early 2010s, there was only a small handful of bands of that style, specifically The Breathing Process, Winds of Plague, Make Them Suffer, and Betraying the Martyrs. Later on in that decade, Lorna Shore and Shadow of Intent mastered this blend of deathcore with symphonic black metal elements, with the former band giving the genre a viral boost. Yeah, I owe it all to Lorna Shore for opening my ears to a more epic take on an otherwise brutal genre. And I can almost say the same about this band who has just released a new EP...

Worm Shepherd are back with a new lineup and an EP to start this new era. The only founding member left is guitarist Tre Purdue, and sticking with him since their previous album Hunger is fellow guitarist Harry Tadayon. The 3 new members are vocalist Ian Smith (The Archaic Epidemic), bassist Tom O’Malley (Ingested), and returning drummer Leo McClain (Psycho-Frame). This EP, Dawn of the Iconoclast is the dawn of something new!

"The Omen" starts the album ominously with clean guitar strumming and rising orchestration before the band attacks with their usual deathcore. And what's a deathcore highlight without some ravaging breakdowns? The one in the end is the most BRUTAL. "Soulless Lament" is the most Lorna Shore-sounding track here. The melodramatic choruses are in great contrast with the crushing breakdowns and give any deathcore song a big kick. "Feast" is more mid-paced and atmospheric, but later on, the blackened side of them would snap you in half and tape you back together, even without a single breakdown.

The shorter "Sanctified Rot" is another standout with technical shredding by Tre Perdue. It all comes down to "Whispers of a Buried Land", the grand 7-minute closing epic. From the orchestral/choral grandeur to towering riffing and breakdown, it's a dark glorious experience that should be worth it for any fan of deathcore and/or epic deathcore. It doesn't surpass the previous album's ending epic, but it's very close.

It seems Worm Shepherd have a new journey ahead of them, and all it took was a display of their usual sound performed by new members. Dawn of the Iconoclast has made sure that their epic extreme greatness isn't going anywhere, and there shall be more of that on the horizon!

Favorites: "The Omen", "Sanctified Rot", "Whispers of a Buried Land"

I consider Love is Not Enough to be Converge's own Blind Guardian The God Machine. While Blind Guardian added more symphonics to their power metal, reaching that aspect's height in the special orchestral album Legacy of the Dark Lands, and then returning to their heavier roots in their new album, Converge added more atmosphere to their sound, reaching that aspect's height in the special post-sludge collab with Chelsea Wolfe, Bloodmoon. And now they're back to their heavier roots in Love is Not Enough!

These Massachusetts-based metalcore pioneers have a sealed lineup of Jacob Bannon (vocals), Kurt Ballou (guitars), Nate Newton (bass), and Ben Koller (drums). Aside from their poor debut Halo in a Haystack, the albums that followed are some of the greatest I've heard in non-melodic metalcore, and their new album continues that streak.

The title opener already launches you back into the thrashy metalcore/mathcore of their 2000s material, all in pure savagery. Then "Bad Faith" has more relatably helpless lyrics. The idea of someone being in an uncontrollable situation is something many of us have unfortunately experienced, including me. "Distract and Divide" is a minute-and-a-half blitz of rage against society. "To Feel Something" continues that helpless scenario with the idea of being numbed by insecure fears.

"Beyond Repair" is a different composition, a two-and-a-half-minute dark ambient interlude. "Amon Amok" (is that a pun on Amon Amarth?) is more exciting as the lyrics tackle life's demons. "Force Meets Presence" is more expansive, expanding without end until it does end.

"Gilded Cage" takes on the epidemic of the world's industries. It is one of three over 4-minute epics to end the album, the second of which is "Make Me Forget You". This one lets rip the band's wild side as memories fade into silence in the lyrics. "We Were Never the Same" maintains the band's metalcore roots while restoring some of the post-sludge from Bloodmoon. The best way to end this half-hour journey!

September will mark the 25th anniversary of Converge's biggest album and America's biggest tragedy. I say Love is Not Enough is their best album since All We Love We Leave Behind, a big step up from The Dusk in Us. Witness the return of the band's early hardcore as they protest against the darkness of humanity!

Favorites: "Love is Not Enough", "Distract and Divide", "Amon Amok", "Make Me Forget You", "We Were Never the Same"

Benedictum, where the f*** were you in all my years of melodic metal?! This is a band any metalhead should listen to find something classic-sounding in these modern times! And not just any band, but one that would surely kick a** and make even the unbelievers believe.

To be more specific, Benedictum is one of several bands reviving the classic 70s/80s heavy metal sound in the 2000s, plus some touches of power metal. What makes them more unique is the angelic AND devilish singing of frontwoman Veronica Freeman. And it sounds about right that she is like a female Dio (RIP). The album even includes two covers of Black Sabbath songs from the Dio era, which we'll get soon. I don't think I've heard female-fronted heavy/power metal sound this bad-a** since Sinergy.

The opening title track starts with a sinister backmasked subliminal message then rises into Sabbath-infused riffing. The chorus has a nice modern touch to balance things out. Then we get to "Benedictum", which can be considered the band's theme song. Here it starts with sinister Latin chanting then once again brings forward the blend of Sabbath and modern heavy metal in different sections. "#4" is a more progressive track with occasional odd time signature changes. The chorus has a HammerFall vibe within the chanting. "Misogyny" slows things down to a doomy pace. I like the keyboard melodies here, including the old-school-sounding synth soloing. Veronica unleashes her lyrics against those misogynistic unbelievers out there.

"Ashes to Ashes" is filled with rock-on groove. A nice song though not as magical as the others. "Wicca" is one of the most wicked tracks here. Veronica's Dio-esque range shines the most here, as does the rest of the band. But if you wanna hear how much Dio the band can add to their sound, look no further than the first of their Black Sabbath covers, "Heaven and Hell". Veronica can nail those vocals perfectly, and the riffing sounds greatly heavy, the way Tony Iommi has done in the original. Of all the covers I've heard of that song, Benedictum's take might be the best! "Them" cranks up the heaviness while including a catchy singalong chorus. Another powerful standout!

"Two Steps to the Sun" rocks out with more of that guitar heaviness. Indeed it's another more modern take on Dio's sound in both the music and vocals. "Valkyrie Rising" is the album's nearly 9-minute epic, and it shows the band in all its glory without any failure. "Mob Rules" ends this offering as the last of the two Black Sabbath covers. Again, Veronica really has done an excellent job channeling her inner Dio. As great as this one is though, the other Black Sabbath cover has a more mighty edge.

Uncreation can strike you in different moments when you're least expecting it. And those strikes are from the vocal power of Veronica Freeman, as well as the rest of the band. This is not an album or band a metalhead should go their whole life without. It's a masterpiece to tear down the conventional walls!

Favorites: "Uncreation", "Benedictum", "Wicca", "Heaven and Hell", "Them", "Valkyrie Rising"

The title of this album Genotype was held on to for a decade, originally meant for an album that was never meant to be. And now, we finally get the once-lost sequel to Phenotype! Just not how it initially was...

Metalheads were hyped up for this supposed Genotype album that ended up shelved when Textures announced their farewell tour and subsequent disbandment. Like a cliffhanger in a cancelled show, it was a big hole in the story that wasn't filled... Until the band reformed in 2023 and rewrote everything into something fresh and new, while maintaining the fact that Genotype continues the Phenotype saga. And at last, it arrived two days before my birthday! Although I didn't get it until two weeks later.

"Void" is the album's overture that welcomes back their fanbase with a colorful burst of guitars, synths, and drums. A warm light after the cold darkness of the absence! "At the Edge of Winter" is where the band's heaviness comes back to life and punches right through. Vocalist Daniel de Jongh is still in great shape after all those years away, but what impresses me the most here is the guest vocals by Charlotte Wessels. D*mn it, I gotta hear more of her former band Delain! The instrumentation and vocals sound so epic, and it's clear the band is back for real. "Measuring the Heavens" has more emotional flow. When the vocal intensity alternates with the heavy riffing, they really strike.

"Nautical Dusk" brings some darkness to the light in the rhythms. It's quite addictive, especially in the vocal power. "Vanishing Twin" is more diverse in the drum energy and the synths. Although there are mostly cleans, the growls hit hard within the stomping instrumentation at the end.

"Closer to the Unknown" is sharp and catchy. It is another perfect anthem with a total live-friendly chorus and searing leads. A short yet massive banger! Then "A Seat for the Like-Minded" takes a more ominous turn in the riffing and vocals. "Walls of the Soul" is the 8-minute closing epic, gradually building up and get more lively every minute. The percussion and riffing attack and, at the same time, let you transcend smoothly. An adventurous way to end their comeback offering!

It can be hard to pick up greatly where you left off after a long hiatus, but Textures have just done just that and more. The melodies and riffs will surely please the older fans and bring new ones in. Genotype is a true return to form for this talented band. They shall keep waving the progressive metal flag!

Favorites: "At the Edge of Winter", "Measuring the Heavens", "Closer to the Unknown", "Walls of the Soul"

Spiritbox is one of the most popular bands in modern metal. They made it big with their string of singles throughout the era of the pandemic and the album those songs would appear in, Eternal Blue. I remember listening to that album when it first came out, and I enjoyed the heavy technicality and spacey melody. For some reason though, the appeal didn't last long for me. Must be due to the more mainstream alt-ish sound, but at least it's enough for my brother to enjoy a couple of those songs.

In between that album and their new one Tsunami Sea, the band released two EPs. The one I've chosen to check out is this one, The Fear of Fear. It has definitely sparked up some memories of when I listened to Eternal Blue, being a solid continuation of that album's alt-metalcore sound with a few industrial/cyber/nu metal vibes thrown in...

To open this offering, "Cellar Door" has some of the heaviest I've heard from the band. Glitchy electronics and nu-infused guitar guide you through this violent chaos complete with crushing breakdowns. The second track and fellow single "Jaded" has the technicality and emotion of Architects while blending it with the softer side of Eternal Blue. "Too Close / Too Late" has a gentle drift of beauty, especially in the chorus.

"Angel Eyes" brings back the monstrous destruction. The textured bass by Josh Gilbert (ex-As I Lay Dying) are adjacent to djenty guitar intensity along with the harsh vocal fury of vocalist Courtney LaPlante. In "The Void", the band knows just how to hit with all their power! The beautiful emotion carries on in the closing "Ultraviolet".

To summarize the sound of this band and EP, well...it's all about experimenting with what they are without setting a strict sound. This allows them to break boundaries at ease, and make the band more than just simply alt-metalcore. It's not a direct sequel to Eternal Blue, more like an expansion of that album's sound in a way that makes this EP stand out with its own. So let's ride on for a glimpse of what to hear from this rising band....

Favorites: "Cellar Door", "Angel Eyes", "The Void"

Have I mentioned that Lord of the Lost's current project is a trilogy? Opvs Noir is a series of albums released in just months-long intervals, all that continue their blend of gothic/industrial/symphonic metal. I mean, we won't get Vol. 3 until this April, but at least we have the first two volumes. I've already checked out Vol. 1, and now we're gonna explore Vol. 2. Not as varied as their previous album, yet still great...

Frontman Chris "The Lord" Harms, guitarists Pi "π" Stoffers and Benjamin "Benji" Mundigler, bassist Klaas "Class Grenayde" Helmecke, keyboardist Gerrit "Gared Dirge" Heinemann, and drummer Niklas Kahl keep up their talents here. Opvs Noir Vol. 2 is the band's 11th album, and the second part of this ongoing trilogy.

Starting the album is "The Fall From Grace". Unlike the first volume's opener, it starts off gentle in the keys as the rest of the metal instrumentation drifts in smoothly. Chris Harms' vocal sorrow shines especially in the chorus. And in between the second and final choruses is some of the most intense screaming I've heard from him, in perfect contrast with the gothic bliss. "Would You Walk With Me Through Hell?" has the first of several guest vocalists here, Infected Rain vocalist Lena Scissorhands. It's one of the more industrial songs in the album, and the heavier parts are worth moshing to, particularly when there's harsh aggression from both vocalists. After all that massive power, "One Of Us Will Be Next" is a soft ballad with angelic choruses. Then "Walls of Eden" can really get people moving in concerts.

"Raveyard" is an impressive highlight of pure dance-metal fire. I especially enjoy the rapping by Kaarija. Turning up the heaviness is "The Last Star", the verses are soft so that all the energy is used in the chorus. Sadly, some of the vocals don't hit as hard as in other songs. More of the dark fury is covered in "What Have We Become", which includes more experimentation including vocals by IAMX founder Chris Corner. The baritone/growls of Harms and the falsetto of Corner make another perfect duet in the sea of industrial darkness. Then we reach the cold melancholy of "Winter's Dying Heart", an epic ballad with the instrumentation and vocals in excellent balance.

"Scarlight" starts off calm in the intro and first verse then explodes into a speedy chorus. Now, "Please Break the Silence"... Is that a more polite take on Beyond the Black's new album Break the Silence? I mean, Chris Harms has guest appeared in a song from that album and the female vocalist sounds like Jennifer Haben. Oh wait, that's Anna Brunner from League of Distortion. Still a beautiful energetic highlight! Finally, "Sharp Edges" is a soft and sweet ending track with some background noise in the climax.

So the second volume of Opvs Noir has a more experimental direction than the first. However, I feel like there should've been more of the variation Vol. 1 had. Maybe more guest vocalists? Well, Vol. 3 apparently has a little more of them, so that's promising. But until then, enjoy Vol. 2....

Favorites: "The Fall of Grace", "Walls of Eden", "Raveyard", "What Have We Become", "Winter's Dying Heart", "Please Break the Silence"

It's not often for a band to last two decades with most of the members intact since the beginning. 4 of the 7 members of Fear of Domination have stayed together for all of their albums; male vocalist Saku Solin, bassist Lauri Ojanen, and guitarists Jan-Erik Kari and Johannes Niemi. One other longtime member, keyboardist Lasse Raelahti joined the band in 2012. And now there are two new members for a new album in a new era...

Katharsis is their brand-new 7th album released in the beginning of this year 2026. It marks the debut of female vocalist Jessica Salmi and drummer Anton Nisonen. It also continues the trance-filled melodic metalcore sound from their previous album VI: Revolution, while bringing back their earlier industrial/cyber metal side.

"Alone" is a h*ll of a strong energetic start. The verses screamed by both vocalists are in a great contrast with the catchy sung choruses for a well-balanced composition. Then there's the more simplistic "Dead Anyway", having a slow intro before the dancey keyboards enter alongside the metal instrumentation and vocal power. "Monsters" is the first single for the album, released nearly two years prior. Although the intro sounds a bit dull, the riff attacks with headbanging rhythm, encouraging you all to sing and shout along. The soloing between the second and final choruses is filled with shredding fury. Up next is "Imposter" which is more grandiose, thanks to the synthesized orchestrations and choir. It's both dramatic and dynamic!

The groovy "Last Words" is heavy in both the metal and the electronics. I can predict that song being a live staple! There's nothing silly about "Primum Noce Apte" when their earlier cutthroat melodeath riffing makes a comeback. I feel they could've let out their rage longer though. "Rabbit Hole" starts off brutal before resting calm while still catchy.

We're heading into the final third of the album now, starting with another perfect track "All as One". They can do the whole "disco-metal" thing as well as Battle Beast, probably better! The final chorus has the most of their energy. "Endgame" is an epic single from the album seems to emphasize their earlier industrial/trance metal roots further. A hard-hitting masterpiece of a song! The finale "Feel" has similar gentle melancholy to Metanoia's closing track. I probably would've loved it more if not for the abrupt ending.

Fear of Domination still have their strong talent in Katharsis, with energetic songs worth both dancing and headbanging to. Despite a couple slight struggles somewhere, there's hope for their music to make a strong global impact....

Favorites: "Alone", "Imposter", "Last Words", "All as One", "Endgame"

Note: I've decided to try a new thing where for any of the favorites I've listed for a reviewed releases, the ones in bold are the ones I deem not just great, but true perfection.

My interest in progressive melodeath has boosted up ever since encountering the perfect discography of An Abstract Illusion. It was a sign for me to revisit some earlier progressive melodeath bands that I enjoyed yet abandoned a few years ago. In Mourning might just be the place for me to start in my journey of redemption, since that was probably the band An Abstract Illusion reminded me the most of. And I'm glad that the first Infinite feature release of 2026 is their splendid new album, The Immortal!

The album was recorded throughout the late months of 2024 and the early months of 2025, following up from The Bleeding Veil released 4 years prior. The Immortal may just have the best sound from the band in many years, sounding so sonic and organic. I can already tell how well-written the album is, in big levels. Slight touches of black metal are added to enhance the cold darkness. It finally saw the light of day at that year's Summer end, released via Supreme Chaos Records. As emotional as their earlier material was, the emotion has reached its greatest height in their quarter-century tenure in this offering.

Of the 9 tracks in this album, the title opener is a moody one-minute intro. "Silver Crescent" blasts off with crushing progressive riffing. Then the vocals enter, as aggressive power is blended with melodic harmonies. "Song of the Cranes" is more progressive while keeping the structure in control. The heavy verses with harsh vocals and melodic chorus with clean singing are a mix that has been used by many bands before yet still sounding unique.

"As Long as the Twilight Stays" is more emotional. Clean sorrow comes in first before more of the intense distortion and vocals. "The Sojourner" is the album's first single. It's the perfect song for anyone up for a lot of aggression with some melody here and there. "Moonless Sky" is an ethereal ballad/interlude, a gentle calm in between storms.

"Staghorn" bites down with pure heaviness, all in the guitars and vocals. "North Star" is an aptly titled song for a somber night trek in the northern lands. The melody and heaviness appear where they need to be. I also like the catchy clean chorus. The 8-minute closing epic "The Hounding" starts slow and doomy then speeds up with all its emotional power. The growls and screams touch my metal heart, and the different riffs and twists keep me up for more. Fantastic!

Emotion reigns supreme in the brand-new In Mourning album. The Immortal hits hard with its aggression and lightening this up with its melody. It's likely the most powerful the band has sounded in years, and with that, let's hope their music stays immortal!

Favorites: "Silver Crescent", "Song of the Cranes", "The Sojourner", "Staghorn", "The Hounding"

The new Lychgate album is likely the last new release in metal that we'll ever get before the new year dawns. And with only over 24 hours before it becomes 2026 in my country, I thought this would be the right album to check out as the clock is ticking down. It's probably the most experimental album of the year, and one that further shows how well I can keep up in The North despite that clan being the least likely for me to ever join.

You want extreme progressive metal more twisting than a supermassive black hole? It's all in this album Precipice! What we have here is the deathly progressive metal of Opeth blended with the avant-garde black metal of Dodheimsgard. Rhythm and melody are covered within heavy riffing, clean leads, and classical keys. The vocals are pretty much what to expect in extreme metal, including chaotic growls and screams. It is also lyrically based on the philosophical works of Forster, Wells, and Eliot, specifically the dark bleakness of humanity's dependence on machines.

The intro of this 9-track album, "The Sleeper Awaits" sets everything up in a haunting fashion, as heard in the piano and orchestration. "Mausoleum of Steel" crashes in with dark aggression balanced out with progressiveness. The devilish harsh vocals in front of the orchestration and metal is so strange yet tempting. "Renunciation" is even darker, further into the center of the world. Leads and vocals unite for a dissonant sound alongside the bass and drums. It's truly a beast lurking in the shadows!

"The Meeting of Orion and Scorpio" turns into clean light tainted by eeriness. Seems like the beast is having its rest. "Hive of Parasites" is a spooky progressive 10-minute epic. It may take some time for listeners to get used to what's going on, but when you do, you can fully embrace it as it embraces you. The vocals stay harsh throughout this cavernous quest. "Death's Twilight Kingdom" has some piano and bass in the intro before the metal beast moves again. Everything keeps changing before you can get a sense of what's happening, like something appears, disappears, and reappears.

"Terror Silence" has a more straight structure that's easy to understandable. Still they have the Opeth-like aspect of shapeshifting riffing. "Anagnorisis" adds to the album's lyrical focus of discovering the true existence of someone else rather than your own. Everything's so dark and deadly, and for me, it's my sweet dessert. Doom is impending... And it comes in "Pangaea". For just 3 short minutes, you feel the black hole engulf you in darkness and death. Then before long, your journey ends on a satisfying note.

Like the edge of a cliff that the album title means, Precipice will give you the feeling of hanging on to your life. It's an experience so unsettling yet pleasant. And in the end, it's all worth leveling up your metal soul!

Favorites: "Mausoleum of Steel", "Renunciation", "Hive of Parasites", "Death's Twilight Kingdom", "Anagnorisis"

One of the things I love about metal is the diversity. When different genres come together, they bring some uniqueness to the table, creating a sweet feast. And one band that kinda do that is Ithilien. In their second album Shaping the Soul, these Belgians decide to do something unusual at the time, blending together folk metal and metalcore to make... folk-core! And this album came out 4 years after their more melodeath-oriented debut.

Throughout this thunderous 10-song 50-minute offering, expect some Eluveitie-esque epic folk metal with more hardcore riffing, bass, and vocals. There's still some of their earlier melodeath here and there, only in smaller chunks, leaving most of the heaviness to their modern metalcore side.

"Blindfolded" starts the album with a slow march of guitars and Celtic instruments, then when the screaming vocals enter the picture, the drumming tempo really speeds up. This is basically the kind of soundtrack Game of Thrones needs for their enemy-slashing battles. And when the mid-paced folk sections come back on, they're for getting hammered, partying, and simply headbanging to the loud heaviness. "Lies After Lies" continues that pace with added flute. It's more emotional while still having that heavy energy. The title track may be the closest we have to their melodeath roots. Everything's so frantic with bursts of melody and the usual background Celtic instrumentation. This killer opening group of tracks reaches its peak in the next track...

My favorite track here, "Walk Away", is the band's longest song at nearly 8 minutes. Slow folky melancholy is its main purpose, sounding epic without having to resort to much metal. The emotion is sadly lost in "If Only", which has nothing but hollow filler. The interlude "Emma" is nice and relaxing but doesn't do much either.

"Edelweiss" is named after a flower in Switzerland, though the song's relation to Switzerland has more in common with Eluveitie, complete with heavy raging fire. Another exceptional track is "Hopeless". There's more variation in the vocals and atmosphere, and maybe they can have more of that in their possible next album. "The Dive" explodes in melodic rage, though I feel like there could've been slightly more to ignite. "The Bear Dance" is a fun instrumental worth a LOTR-style victory dance party.

All in all, Shaping the Soul is a sold Ithilien album. This folk-core sound with small melodeath doses is quite fun and unique. And there's barely any reptition, other than that small mid-album slump. This should get metalheads interested and on the edge of their seats for their next album to come. Very soon, I hope....

Favorites: "Blindfolded", "Shaping the Soul", "Walk Away", "Edelweiss", "Hopeless"

Getting back into the epic folk metal zone that I was in 10 years before this review when I was into the more melodic metal genres, while still taking on the heavier modern metalcore, has made me quite curious about what those two genres would be like mixed together. We already have Equilibrium doing that with their later material, but before that was the modernized folk stylings of Ithilien...

Named after a region in Gondor from The Lord of the Rings, this Belgian band released their debut From Ashes to the Frozen Land in 2013. Celtic-infused folk metal is blended with modern melodeath similarly to Eluveitie, albeit with some Scandinavian viking/black metal elements.

The intro "Battle Cry" is a nice gentle start. When Celtic bagpipes come in, it sounds like something out of the Braveheart soundtrack, at the same time fooling some listeners into thinking is the beginning of a new Dragonland album. Punching through is "Unleashed", unleashing some Nordic melodeath power, sounding blackened in the vocals and blast-beats. Getting a little calmer while staying heavy, "Rebirth" is more mid-paced with beautiful leads.

A long-ish interlude "Sealed Destiny" comes in. I feel like it shouldn't be placed so early, but it's fine where it is. The first of two 6+ minute epics, "Through Wind and Snow", is a grand example of folk-fueled melodeath alternating between fast and slow, with similar vibes to bands like Kalmah, Swallow the Sun, Mercenary, and Hope for the Dying. Also will those crickets stop chirping at the end?! It's not boring at all! Again shining with speed is the other epic, "Reckless Child". No problems there! "Drinkin' Song" I also enjoy for its upbeat fun. I'm glad to not let seriousness get the best of me.

"Mother of the Night" is another fast standout. But then comes the more repetitive "Stare Into the Deep", though it's not too bad. "Everlasting Dawn" is the most blackened gem here. Love that one! "A World Undone" ends up being a slight letdown, but it doesn't affect the album's perfect score. "Northern Light" ends the album as another bagpipe instrumental, this one as long as that second interlude.

With their debut From Ashes to the Frozen Land, Ithilien has the potential to expand the boundaries of epic folk/melodeath. It's for anyone up for this kind of blend, and there's more of that in their next album, when they add some metalcore to their cauldron. Enjoy some modernized folk metal!

Favorites: "Unleashed", "Through Wind and Snow", "Reckless Child", "Drinkin' Song", "Mother of the Night", "Everlasting Dawn"

Of all the genres I enjoy in my metal journey, there's one I somehow seem to neglect in favor of everything else, post-sludge. I don't think I've discovered much from that genre beyond its Big 4 (Neurosis, Isis, Cult of Luna, The Ocean) and Rosetta. Many of its songs guide you through transcending realms, showing that metal doesn't always have to be about chaos and speed. So when this Dimscua EP was brought into discussion, I thought it was a good time to catch up with what I was missing out on.

And wow, what an EP! Dust Eater is the start of a promising career for this UK post-sludge band. We haven't heard anything new from Cult of Luna for a while, but this offering feels like a solid continuation to that band's sound. Dimscua has only just formed this year, and they already have a lot of emotion and grief in their music.

"Elder Bairn" already sets up the atmosphere with its bleak guitar tone and screamed vocals. The riffing rhythm rises before reaches its height in an apocalyptic explosion. The riff storm strikes down as the screams haunt you like tortured souls. An absolutely devastating start to the adventure! The title track seems a bit stretchy in the rhythm, but that's my one and only complaint. The music still sounds huge and emotional.

Raw emotion continues to shine in "Existence/Futility", with different melodies built to last then built to fall. It's like a strong fight that you end up winning and losing multiple times. And is it all worth it? For sure! "On Being and Nothingness" is the 10-minute final epic and a true example of the post-sludge sound developed by the earlier masters of the genre, proving that it's far from dead. The chords and vocals drift through a dimension of catatonia. By the time it all ends, you become one with the astral plane. A dark satisfying end to this atmospheric journey!

As cheesy as this may seem in theory, tragedy has turned into art that can easily resonate. The tragedy that is guitarist/bassist Adam Campbell-Train losing his daughter (RIP). The end result is the amazing return of the post-sludge sound we know. Here's to a possible full album from the genre's new chosen ones!

Favorites: "Elder Bairn", "On Being and Nothingness"

When bassist Alessandro Venturella and drummer Jay Weinberg replaced the late Paul Gray and Joey Jordison (RIP), it was uncertain how .5: The Gray Chapter would turn out before its release. Of course, the critical acclaim for that album was enough for them to stick around for another headbanging album, We Are Not Your Kind. However, a lawsuit between percussionist Chris Fehn and the rest of the band would lead to his dismissal, only appearing in a bonus track that we'll talk about when we get there...

Slipknot is another band that can master their heavy/catchy blend. They're an easy band for metal newcomers to get into downtuned riffing and growled vocals. I think this was my first full-album experience when it first came out and my brother recommended it to me, though I haven't gotten to reviewing it until now.

Kicking things off with the intro "Insert Coin", an eerie electronic atmosphere sets the stage. The segue to "Unsainted" seems a bit abrupt. Nonetheless, it's a fantastic start to the action, also being the first single. After an epic rising choir intro, heavy verses rush in with all their might, and the melodic catchy chorus with the same melody and lyrics as the song's intro helps keep things accessible. OK, the choir is a little cheesy, but it's still epic, reaching its height in the final chorus. Next up, "Birth of the Cruel" is another cool highlight. The chorus is quite devastating in the riffing and vocals. Brilliant! "Death Because of Death" is a nice interlude, though a little too early in the tracklisting.

I also have mixed feelings for "Nero Forte". The verses and bridge are greatly intense in the riffing and vocals, but the chorus ruins things. Vocalist Corey Taylor's clean singing sounds unfitting, and makes it all sound like a butchered take on Demon Hunter/Mercenary. The same issue occurs in "Critical Darling", which I'm somewhat a critic of. Great verses, iffy chorus. But then we have another favorite of mine in "A Liar's Funeral", which brings it all back to the atmospheric side of Iowa. The haunting screams of "LIAR!!!!" and "BURN THE LIAR!!!", the latter in the intense chorus, all make this one of the best here. It's like Godflesh's Hymns all over again! Next song "Red Flag" cranks up the rhythmic heaviness and speed, while making room for a bit of melody. "What's Next" is another eerie interlude to get you ready for what's next.

"Spiders" is kind of an odd one for me. That keyboard melody and cheesy chorus makes it sound more suitable for the Halloween soundtrack, even sounding like John Carpenter's theme for that movie. There's not much buildup there, so it never goes anywhere. "Orphan" is another deep-cutting thrashy highlight. But the next track "My Pain" is a better one. Everything's filled with intense darkness. It probably would've been better trimmed by a minute or two, though I still approve. "Not Long for this World" is another overlong track, and this time it's too long for its own good. Fortunately, things really pick up in the second half. "Solway Firth" ends the album in a heavy bang. After the intro that reprises the album's intro, the heaviness of Iowa and The Gray Chapter bursts in with anger and destruction, all the way up to the final lyric, "I haven't smiled in years." Well I have! The aforementioned Japanese edition bonus track "All My Life", well...it continues that thrashy sound but isn't as well-executed as the actual finale.

All in all, We Are Not Your Kind is a great follow-up to The Gray Chapter. I can't deny the strength of those songs, though the experimentation in a few odd tracks could've been improved. Still it's definitely worth listening to and recommending to rock/metal fans. Be one with our kind....

Favorites: "Unsainted", "Birth of the Cruel", "A Liar's Funeral", "Red Flag", "Orphan", "My Pain", "Solway Firth"

Volumes' new album Mirror Touch was released digitally in December 2025 and physically in February 2026. It shows the band distancing further from their djent-core roots than before, to the point where they're almost entirely mainstream alt-metal. While not the best direction, it's still a pretty solid offering for anyone willing to explore more of the band and genre. But let's elaborate further...

Since releasing their debut Via 15 years ago, they've been a well-praised band in the djenty metalcore scene. Mirror Touch shows the band transition to mainstream alt-metal practically complete, though this melodic direction is not without some throwbacks to their heavy groove-laden roots. They know how to please both new and longtime fans.

We get a somewhat disjointed opener in "Sidewinder". It's still good but a little off-balance. "Bottom Dollar" has more impact, restoring some of that earlier djenty groove while including some hip-hop sections that are actually well-crafted. "Bad Habit" is the first catchy rock track here. The vocals and guitar sound so serene in the chorus, though the band would still throw some heavy punches.

Then "California" takes their pop-ish aspects further than any of their material before. Quite jarring, but I can still enjoy the catchy hooks and the midway heavy edge. It's worth appreciating "Adrenaline" for showing more emotion despite the softer motives. "Stitch" drags you from the previous track's light into the heavy technical darkness. With that said, the clean singing was still dominant in the first minute until spiraling back into the harsh vocals. The heavier grooves don't stop there, as "S.O.A.P." has them battling against the clean melodies in the dark fields.

"Dream" is so dreamy, and it has some of the best vocals here in great chemistry. The upbeat light from the guitar melodies makes this a wonderful standout. There's still one remaining melodic track in "Worth It", which I guess is worth making it this far, especially when we have a finale to look forward to... "Suffer On" is absolutely brutal in the riffs and vocals, including guest features from the two Black Sheep Wall vocalists Brandon Gillichbauer and Trae Malone. That can give them potential for a heavier future!

So yeah, Mirror Touch is more melodic than Volumes' past offerings, but the heaviness isn't totally gone, particularly when looking back at their earlier djenty grooves. It's nice and consistent, and a great way to end the previous year. They still have their magic touch....

Favorites: "Bottom Dollar", "Adrenaline", "S.O.A.P.", "Dream", "Suffer On"

I think I found what might've given Northlane the idea to adopt more modern electronic elements in their later albums. Fellow NSW-based band The Arbitrary Method was only active for short EP in 2015, and that EP, Augmentation showcases a diverse mix of industrial/cyber metal and metalcore, and a small bit of nu metal. It's almost the same kind of blend heard in Northlane's Alien! Plus some touches of Cypecore and 2000s Mechina. Also, don't expect a lot of groove metal here, there's barely any of that...

To be more specific, there are the samples and synths expected in a Sphere release. And there are the simple yet heavy riffing and drums of metalcore, with some lyrics and vocals lean into nu metal territory. The end result is a great small offering that isn't perfect but still enjoyable.

The EP starts with the atmospheric title intro. Then the heavy beat starts in "Divide the Devil". Some of the guitar leads and vocals have a bit of a Trivium vibe in them, and that I love! "The Mirror" cranks up the industrial side in kind of a standard fashion. "Enslaved" has some of the best riffing, though sadly the verses are kind of generic, especially with some annoying background FX. "Defy" is the best track here, sounding quite catchy in the intro and chorus. Another track "Don’t Let Go" doesn't have the same memorability, but it's still OK. "Into Insanity" closes the album with another grand standout, even having Bjorn Strid from Soilwork behind the mic.

Augmentation is a solid EP that takes some cues from the 2000s era of metalcore and, to a lesser extent, nu metal, and gives it a futuristic industrial/cyber metal twist. Such a shame there isn't anything beyond this from the band, but it's worth listening and savoring. A more cyber Mushroomhead, I would say....

Favorites: "Divide the Devil", "Defy", "Into Insanity"

Riot started out as one of the earliest notable American heavy metal bands, but with their 6th album, they brought in some speedy power metal. NO I don't mean US power metal, although they have that too. I'm talking about the European power metal that was first building up in Germany at that time. The speed metal elements would also pave the way for Judas Priest's Painkiller a couple years later. Evil ones beware of a cyborg tank warrior made of thunder and steel. This is Thundersteel!

Nowadays, metal is judged more by music that image, so people can recognize the Judas Priest-isms more musically now, rather than visually in the 80s. You can hear the high berserk vocals of Tony Moore, the guitar work of axeman Mark Reale (RIP), the pounding drums of Bobby Jarzombek, and solid basswork by Don Van Stavern.

The lightning fast title opener shows a lot of the speedy side of Judas Priest, and it shall be praised by the Metal Gods. Also having your money's worth is the next track "Fight or Fall". There's more monstrous riffing to be found in "Sign of the Crimson Storm". It's still a metal anthem despite slowing down into the hard rock-ish sound of the band's early material, maybe even Deep Purple.

"Flight of the Warrior" is another memorable highlight. The chorus is quite awesome, as is the speedy riffing and leads. I'm familiar with that one via HammerFall's cover. "On Wings of Eagles" is also pretty great, having some of the grit of early Metallica. From the bass intro onwards, "Johnny’s Back" runs wild with its speed.

Then we slow down for the power ballad "Bloodstreets" with its heavy/mellow blend that they can pull off as greatly as Manowar and Crimson Glory. "Run for Your Life" cranks up the speed a little more in the guitar. The chorus is the best part when the vocals switch from high and low. I love it better than that similarly titled song from Fire Down Under. Now, the 9-minute epic "Buried Alive (The Tell Tale Heart)" I enjoy, but when I first listened to this album, the aforementioned opening title track was my favorite here. But as I revisit it, this epic is now my favorite! Must've been my growing appreciation for epics. Anyway, an odd voice sample leads into solitary guitar soloing similar to Crimson Glory throughout the first 3 minutes. Then the rest of the song carries on in an Iron Maiden mid-paced groove. Brilliant!

All in all, the historical value for Thundersteel is off the charts! It has the speedy melody of power metal and the glory of classic heavy metal all in one mighty masterpiece. If anyone is up for some of the earliest Euro-style power metal besides Helloween and Running Wild, it's all right here. Onward, my fellow warriors of steel!

Favorites: "Thundersteel", "Sign of the Crimson Storm", "Flight of the Warrior", "Run for Your Life", "Buried Alive (The Tell Tale Heart)"

The amount of progressive metal I've been exploring in the past few months has been some of the most melodic in years. While I still enjoy djent bands like Tesseract, Textures, Vildhjarta, and VOLA, I've gotten back in touch with the material of melodic bands ala Symphony X Japan and discovered similar bands like Andromeda and Threshold. Even a deathly band like An Abstract Illusion can have profuse melody, and that provides the bridge needed to check out this release from a heavier band...

Abditum, the new album by experimental progressive tech-death band VoidCeremony, is filled with complex chaos. It's an astral journey through labyrinthine structures and riff technicality. However, the cohesion may be a bit off, causing the journey to spread out in fragments.

We get an interesting start with "Inevitable Entropy", a 45-second intro that sounds very well like it's been taken from the Old School RuneScape soundtrack. Then we swing into the chords and grooves of "Veracious Duality". The amount of different tempo changes is quite nuts, exemplifying their experimental approach. Then midway through, they break boundaries with their revival of the classic prog-death of Atheist. Truly devastating technical carnage! "Seventh Ephemeral Aura" is another excellent composition, letting out the complex talent of guitar duo Garrett Johnson and Jayson McGehee, and I'm talking about dynamic riffs and solos. It's like a more deathly take on early Between the Buried and Me, complete with out-of-this-world chord structures.

"Dissolution" is another interlude, having just useless jazzy guitar noodling. This probably would've been better and more enjoyable if it was placed in the middle instead after only two tracks. It just breaks the flow appearing so early. Actually, scratch that, "Despair of Temporal Existence" sounds a little too tight and repetitive, and it's only under two minutes long despite being a metal track. Either get longer or get out! "Failure of Ancient Wisdoms" has the deathly progressiveness of The Faceless. It's more cohesive with the guitarwork not having too much force, but it doesn't impress me enough to be memorable. Not a failure yet not a winner.

Then we have the short yet progressive instrumental "Silence Which Ceases All Minds". No time is wasted at all, with some of the best soloing here. It's just full speed ahead with drummer Dylan Marks practically obliterating his kit. "Gnosis of Ambivalence" is another highlight continuing all the vicious aspects the previous track has while adding in creativity in the vocals and riffs. The outro "Elegy of Finality" ends the album the same way it began, with its odd and confusing keyboard-symphonic presence.

All in all, Abditum has potential to be a progressive tech-death adventure. It's just that the under two-minute tracks are either unfitting filler or too short to stand. But I guess they're to make sure this isn't an EP. Nonetheless, the highlights should impress any fan or newcomer of the genre. Just try to ignore the poorly executed moments....

Favorites: "Veracious Duality", "Seventh Ephemeral Aura", "Silence Which Ceases All Minds", "Gnosis of Ambivalence"

It's safe for me to say that An Abstract Illusion may just be my new all-time favorite band. Each and every one of its 4 releases is a 5-star monumental masterpiece. And it shows that my love for extreme progressive metal won't die soon. The perfect streak continues yet again in their new album The Sleeping City!

The 3rd album from this Swedish blackened progressive melodeath band is another flawless journey. The synths and atmosphere wouldn't be too far off in a soundtrack for sci-fi film franchises like Star Wars and Blade Runner. The heaviness is also fitting for the psychology of humanity. You know the cities that never sleep, like New York and Vegas. Whichever city is referred to in the story is the opposite that, and one to explore if you dare...

The first of the 7 songs here, "Blackmurmur" already cuts to the chase. No 3-minute intro, just a swift entry into one of 3 epics that each last 11 minutes long. Those keys appearing in front lead into melodic riffing for a grand start. The momentum is kept in shape by the heaviness and melody battling each other in the atmospheric wasteland. Truly a vision emphasized by the guitars and keyboards! "No Dreams Beyond Empty Horizons" starts off clean in the guitars briefly, then comes the heavier storm. The guitars and drums strike as the harsh vocals slash, with some light from the cleans. Each side of the coin outshines the other while maintaining the balance. Simple yet complex! "Like a Geyser Ever Erupting" is the song that, after a few years of me stumbling across scattered tracks, has given me a "LISTEN NOW!!!" kind of demand. The fantastic prog-death erupts like a volcano throughout the first two minutes before clean sections starting popping up. By the end, the storm of aggression would indeed tear down the holy mountain mentioned in the previous album.

"Frost Flower" is a smooth track with dreamy melody coming from the synths and clean vocal harmonies. It's not always warm when the cold wrath returns for some time. Still a pleasant break from the storm. "Emmett" is the second 11-minute epic, and when the storm comes back, it's absolute complex rage! The guitars, leads, and keys are all embraced by the chaos that only become somber by the end. Incredible!

"Silverfields" is a short under 4-minute keyboard interlude with some metal at the last minute. The 10-minute title finale starts off heavy in the rhythms. Keys and cleans are still around for the last bit of sanity before all is consumed by a deathly black hole. And then it all ends with piano melody floating in the empty void.

The Sleeping City is filled with the fury, melody, and complexity all expected in blackened progressive melodeath. It's the kind of offering that would make an instant classic and please many more listeners than before. There's enough melody for the softer listener, enough brutality for the heavier listener, and enough intricacy for the more progressive listener. Basically a hidden artifact of progressive melodeath. This will make my top metal albums of this year list for sure!

Favorites: "Blackmurmur", "Like a Geyser Ever Erupting", "Emmett", "The Sleeping City"

An Abstract Illusion is an underground metal band from Sweden, but it is with this album Woe that the band's popularity started to grow above ground to some extent. They've already made progressive death metal history with Atonement is Nigh and Illuminate the Path, and their next album continues that perfect streak. Of those 3 albums though, Woe gets the golden medal!

While the sound here is generally atmospheric progressive tech-/melodeath, other different genres are incorporated. Sometimes it leans into blackened deathcore in the tremolos and breakdowns. Don't get it twisted, this ain't Lorna Shore! The brutality is balanced out with melody from the guitar harmonies and clean singing.

Beginning the album is the intro "The Behemoth That Lies Asleep". Just like the previous album's intro, it's 3 minutes long and starts slow before cranking up the metal. "Slaves" also follows that similar pattern as the heaviest and most deathly song here. "Tear Down This Holy Mountain" is the first of two 10+ minute epics. After a haunting rising intro with clarinet and spoken narration, the heaviness comes back on, with lots of experimentation.

"Prosperity" segues from the previous track, sounding more catchy especially in the breakdown. "Blomsterkrans" is quite long for an interlude at nearly 6 minutes, but it's nice and peaceful with background cello, violin, and a Swedish voice sample.

Heading into the final leg of the album, "In The Heavens Above, You Will Become a Monster" is a 14 and a half minute epic with some of the best progressive death metal I've heard in my life. It doesn't feel too long, and there's nothing repetitive. All just solid variety to let the time fly by! The finale "This Torment Has No End, Only New Beginnings" can be embedded to the previous track to make a 24-minute epic. That song title is relatable for me planning to start a new chapter of my life, except for the "Torment" part.

All you can find in progressive melodeath is right here in this hour-long trek of Woe. I can't find anything I would consider filler here. All this work must've been really worth it, considering the 6-year gap since their debut. It might just be a new beginning for progressive metal in the new decade!

Favorites: "Slaves", "Tear Down This Holy Mountain", "In The Heavens Above, You Will Become a Monster", "This Torment Has No End, Only New Beginnings"

I've only just started listening to An Abstract Illusion full-time after a few small glimpses of them over the years via some songs in the Infinite playlists. Nearly a decade after forming, and two years after their EP, they've released their full-length debut Illuminate the Path. Perhaps the best album of 2016!

As I've mentioned earlier, the band's style is basically progressive melodeath with elements of atmospheric black metal. I guess a more accurate description would be more complex. Speaking of complex, that's how I would describe the Opeth-esque progressive structures, standing side-by-side with the extreme drums of Fleshgod Apocalypse and the epic atmosphere of Wintersun. Not as many symphonics as those latter two bands though, but everything else comes together in a beautiful offering.

The 3-minute intro "Breathe. Create. Beauty." picks up where the EP has left off, with the same melody as the end of the EP's final track. Then everything rises with the atmosphere of both Hopesfall and October Tide (two different bands from each other). Then we blast off into "Abode of a God". The deathliness of melodeath bands like Dethklok, Ex Deo, Kalmah, and Omnium Gatherum and mixed together in a progressive cauldron that you would really want a taste of. The best vocals in this album come together in the highlight "Drop This Planet of Dust". I love the clean vocals when they blend well with the progressive melodic black/death elements, especially that dimensional section from the 4 and a half minute mark onwards. There are fantastic progressive influences from Omnium Gatherum and Persefone, as well as those other aforementioned bands. Delightful melodeath-inspired progressive metal!

The title track is the first of 3 lengthy 10+ minute epics, and it's more progressive, around the same level as Textures. There's one song with lyrics written in Swedish instead of English, that being their next epic "Vakuum". Apparently it was written quite early on in their career, and it's probably the best one of the entire album, possibly by the band. The intro is so beautiful, as is the rest of the song.

"Talvatis" is another short interlude with doomy atmosphere coming from Black Sun Aeon. "Skeletons of Light" is the epic of the epics, at 16 and a half minutes, with one of the best ending sections. I still prefer that previous epic though. Their bonus cover of Windir's "Svartesmeden och Lundamyrstrollet" shows them doing justice to the original.

Now before I conclude, I just wanna say impressive the band members are, 3 musicians with two different roles; guitarist/bassist Karl Westerlund, keyboardist/clean vocalist Robert Stenvall, and drummer/harsh vocalist Christian Berglonn. They've all done a spectacular job with their top-notch skills. Of course, Bergloon would pass drumming duties to Isak Nilsson for live shows. This underrated band made another grand masterpiece that is Illuminate the Path. Let the complexity and emotion light the way!

Favorites: "Abode of a God", "Drop This Planet of Dust", "Vakuum", "Skeletons of Light"

Music can be seen as something different from a different perspective. From mine, music is quite underappreciated. It's often heard and listened to, but not fully embraced. There are many unique artists that people seem to overlook because those people are just blindly following what's popular. An Abstract Illusion is a band that really should've been big, like universal big! This Swedish metal band is barely known outside the metal underground, and they seemed to have struggled before they were even known at all, having taken 7 years since their formation to release an EP. The EP, Atonement is Nigh marks the beginning of their impressive complex journey. The songs are filled with pure emotion. It can take you a different otherworldly realm like isekai, and it's the closest to doing so that isn't drugs.

How awesome is this EP?!? It's essentially a half-hour of genuine talent! It has everything majestic from the guitars, keyboards, and drums. I would consider this progressive melodeath with elements of atmospheric black metal. It has a similar epic melodeath vibe to Wintersun, and I enjoy An Abstract Illusion as I had enjoyed Wintersun 10 years before this review. Generally it's all about atmosphere and not "Which breakdown is more brutal than the first?" With every cold blizzard of blackened drums, tremolos, and harsh vocals, there's a warm breeze of piano and clean singing, all for a haunting combo. And they're not called "abstract" for nothing, as you'll soon hear in these 3 tracks...

The band's first ever song is their longest one, the 16 and a half minute "The Sun Will Bleach All Bones". Everything's awesome in the different moods within the vocals and instrumentation. It's quite a storm through the emotions coming from both vocal styles. Smooth piano often occurs, and it's played so beautifully. The growling is also strong and brave, especially midway through with an unleashed scream that isn't as long as a few of the ones by Mikael Akerfeldt but can almost put it all to shame. And of course, the chorus is a melodic blessing, shining the most at the end to conclude the first part of this adventure that has just begun. Next track "Rain" might just be one of the best 7-minute instrumentals I've heard. Not once was I ever bored, with the blend of atmosphere and guitar melody keeps me awake. As of writing this, it's already early December, so it's the perfect time to listen to this piece on a cold Autumn/Winter night. And that's all for me to say about this song, really.

The 3rd and last track of the EP, "Chameleon of the Clouds" has faster deathly dynamics. Well it starts slow at first, but then it evolves into powerful riffing and growls. The atmosphere is quite haunting, all the way up to the piano outro. Oh and it should be noted that the exact same piano melody in that outro would be used in the intro track for their debut full-length album Illuminate the Path. Kind of a similar connection to Born of Osiris' The New Reign and A Higher Place. Anyway, such a beautiful ending track!

Beyond the minds of a few people is a beautiful creation that doesn't get the amount of admiration they really need. The music is the perfect soundtrack to braving a stormy winter night, whether letting it embrace you or just viewing it at home. This band is like a whole new universe they've created, and it shall be one to be with!

Favorites: All of them, especially "The Sun Will Bleach All Bones"

Trivium is back with their first new material in 4 years, Struck Dead! Well, it's a short 3-track EP, but one that really SLAMS. They have their usual thrashy melodic metalcore with fire and fury. It's an amazing way to make up for when their Poisoned Ascendancy tour with Bullet for My Valentine fell through partway, and it shall gets us geared up for their next album to come next year.

As the band continues to evolve throughout their over 25 years of existence, these heroes of Florida's modern metal scene aren't putting out the fire anytime soon. What you can expect from this EP is similar to the rest of their catalog, bloodthirsty riffing and epic melodies.

The first track and single, "Bury Me With My Screams" shows that the band is back with a vengeance, filled with awesome heavy groove. It's an explosion of crushing riffing, Matt Heafy's vocals ranging from raw screams to emotional cleans, and energetic drumming by Alex Bent. Truly a pit-ready anthem! The title track, "Struck Dead (Pain is Easier to Remember)" has that mid-paced groove with Heafy bellowing the track's title, "STRUCK. F***ING. DEAD!!!". And when it switches to the big melodic chorus, it already seems like a remake of their ultimate best track that is the In Waves title track. That is, until it speeds up for a long brutal thrash/groove bridge. It's just pure rage throughout, with the most of that in the breakdown. Enjoyable, but can't beat the other two tracks here and especially not "In Waves".

"Six Walls Surround Me" is the EP's 7-minute epic. It may just be the "And I Return to Nothingness title track" of this EP, longer and more epic than the heavy rest of the offering. After a haunting one-minute intro, the remaining 6 minutes has the band's thrashy melodic metalcore reminiscent of Ascendancy, with a more cinematic progressive structure. It's the perfect emotional storm! Oh, and I would like to note that based on the different keys that are out of the E-flat/drop D-flat/7-string B-flat/drop A-flat tuning range, this may be the first ever Trivium track in D tuning (not drop D, standard D) (in my theory). So many surprises in that towering track that are easy to remember!

Struck Dead shows the band looking back at the past while preparing for the future. It also fits well as a farewell to Alex Bent and his drumming fire. His replacement, the previous unavailable Alex Rudinger (Revocation, Monuments, Whitechapel, Light the Torch, Threat Signal, Intronaut, etc.) will make the band destined for a brand-new more technical era. In the meantime, this 18-minute EP has brought their heavy memorable sound back on top. Their talents are unforgettable!

Favorites: "Bury Me With My Screams", "Six Walls Surround Me"

What is it with live shows being better than albums for some bands? Not that I would ever complain because this one is so awesome and beautiful! The power and emotion are to be checked out to believe. It's a true swan song show for the band, grand enough to make history.

X Japan is pretty much the Queen of Japan. And I mean the rock band Queen. X Japan is a band pretty much everyone in the country has adored, and the live shows can be considered an audio-visual treasure. So it was a sad day when the band announced their intention to call it quits. The band knew they had to end their journey in a proper bang, hence their concert at the Tokyo Dome on New Year's Eve 1997. It would be the final time many of 50,000 fans would see them live.

The smooth peaceful overture "Amethyst" fills the stadium, sending fans on a cheering frenzy once it begins. Soon the band members enter the stage as the noise from the crowd rises and the announcer introduces... X Japan! The band begins performing "Rusty Nail" as vocalist Toshi screams "LET'S GO!!!" in Japanese. Although this is still a heavy metal song, it has a similar vibe those J-pop rock antime themes. It's actually the first song I've heard from this band, mainly because of Dragonland's cover. "Week End" is a catchy song to get the crowd going. But then we have a tricky turn in "Scars" into mainstream electro-industrial rock. It's still a good energetic track though. The title opener of Dahlia blends heaviness with accessibility. If there wasn't any metal, it would've been more like an upbeat J-pop song, with the verses and chorus having that vibe. Then we have a quick two-minute "Drum Break" from Yoshiki. "Drain" is another more industrial track, and it actually rules! I enjoy the heavy groove despite being different from any of X Japan's albums before Dahlia. After that is a "Piano Solo" from Yoshiki to make up for not having the epic piano-led "Art of Life" in their setlist.

"Crucify My Love" is a short ballad, at least short compared to the other 3 ballads in Dahila that are each more than 7 minutes long. One such song being "Longing ~Togireta melody~" which is perhaps the greatest ballad by X Japan and one of the best ballads I've ever heard, and I'm speaking as someone who doesn't enjoy a lot of ballads. I can really feel how moving it is! And then we get back to the earlier heavy stuff with "Kurenai", still one of my favorite tracks from their debut Vanished Vision, with a total catchy headbanging chorus. The riffing and the soloing are some of the best from the band. I'm still amazed by their ability to go from a slow love ballad to a fast speed/power metal song. And that alone is enough to make that song a remarkable one, along with everything else within. And the fast speed doesn't end there, as we switch to the short swift "Orgasm". Well, the original song is short, perhaps their shortest non-interlude song. However, they've actually extended it into perhaps their longest track! Besides "Art of Life" of course. Yeah, this is the point where the tracks begin to get extended to over 10 minutes each, almost like prog-metal epics! But if you think that's impressive, get a load of Yoshiki's 14-minute drum solo. Amazing f***ing strength, just hitting those drums until he practically passes out. I sense some jealousy from Mike Portnoy of Dream Theater. While Yoshiki has some to rest, Toshi steps in to sing "Forever Love", another breathtaking ballad. In all honesty, if I was listening to ballads like that a few years before this review before restoring my interest in more melodic metal genres, I would've probably dozed off. And now I don't, I can just listen to them nice and awake.

It leads to the only short track in the second half, "Prologue", which is the intro to Blue Blood that originally has the subtitle "World Anthem". It sounds like a happy Maiden-infused march that's never a drag. It segues straight to the highlight of the entire concert, the band's own theme song, the catchy speedy "X". I'm sure the original song has planted the seed for international power metal bands like Stratovarius. The crowd really goes wild, participating as they should, with their "X" shouts and forming the "X" symbol. And as the music gets extended, it never drags. An absolute banger that never lets itself down! Amazing piano can be heard in "Endless Rain", proving that the band can make a tearjerking ballad without it coming out as cheesy sh*t. After that is another contender for one of the most beautiful power ballads ever, "Say Anything". I swear this can practically make a grown man like me cry. If you can translate the lyrics to English, you would know the tragic tale of a man's futile attempt at saving his relationship, "Say anything, you can dry my every tear". Now the thing is, the band didn't actually perform the song in this show. Really the only live thing to occur there is the audience singing along. The band was too busy handing out different gifts to the fans, as their way of saying "thank you" (or in Japanese, "Arigato"). At last we get to the aptly titled final single "The Last Song". Yoshiki begins playing his piano, and the rest of the performance is emotional history. Once it ends, the band members exit the stage one by one, and Yoshiki is the last to leave after playing the final notes. The true final song is the 10-minute ballad "Tears". It plays during a montage screening of the band over the years. And to end it all for real, an excerpt from "Unfinished" is heard, "Oh, I'm looking at you, can't control myself, nothing but pain for me." And that's the end. Happy New Year!

Fast forward to now, X Japan is back together and having been trying to make their 6th album for nearly two decades. Sadly, just a little over 4 months after their then-final show, Hide hung himself to death. It was widely believed to be suicide, but the band insisted that it was an accident. So that show was truly a heartbreaking farewell to Hide. RIP... Also, Heath passed away from colon cancer two years before this review, but he already completed his recordings for the upcoming album. RIP him too... Anyway, any fan of X Japan, metal, or music in general should encounter this live beauty. Perhaps one of, if not THE, greatest live show in Japan, and possibly the world!

Favorites: "Rusty Nail", "Week End", "Dahlia", "Longing ~Togireta melody~", "Kurenai", "Drum Solo", "X", "Endless Rain", "Curtain Call (Say Anything)", "The Last Song"

Skillet was part of the league of my brother's favorite alt-rock/metal bands alongside others such as Breaking Benjamin, Three Days Grace, and Disturbed. Back around the Rise era, shortly before getting into "true" metal, I was following his footsteps and liked some songs from those bands. He hasn't listened to Skillet for the past few years before this review, but I didn't think too much about it. Then just the other day, he told me that he doesn't listen to one other band anymore, that band being Disturbed. Y'know, the one band that really started it all for his music taste, which would in turn caused my music taste to start building up. This made me wonder, is he really moving on from what was once his favorite style of rock/metal, a significant token of both his and my past? And that revelation came after I moved out of The Gateway...

At that moment, I remembered checking out Skillet's RYM page and seeing their album Collide qualify as alternative metal, within the 2:1 ratio and all. I consider Skillet more of a rock band than metal, but when I gave that album some listening for the first time in many years, I realized it has the most metal Skillet has ever sounded in their career, as heavy as frontman John Cooper's side-project Fight the Fury. The electronics of the band's prior albums were reduced in favor of pure guitar intensity, with John's singing having a bit of a screamy edge. This is total riff aggression that the band has barely done before and after. And for that reason, this album sits well right here in this site.

Synths still pop out subtly in the opening track "Forsaken" while already unleashing that heavy riffing. "Savior" is a perfect song to rock out to, often going from bliss to devastation (not to be confused with that Vision of Disorder album with a similar sound). The album was reissued a year after its initial release and includes a bonus track, "Open Wounds" which has softer melody. "A Little More" is an uplifting ballad, though I think it could've been better placed at the end of the album instead of so early.

This then leads us to two of the best songs in the album, starting with "My Obsession", in which the crushing riffing and vocals have similar vibes to Linkin Park at the time. But nothing compares to the actual best song here, the title track. I loved this song when I was following my brother's footsteps, and I still do today! It's a grand example of how to make alt-rock/metal epic by adding in Within Temptation-esque strings, hinting at the band's more symphonic sound from Comatose onwards. Truly the "Krwlng" of Skillet, and a fantastic gem! "Fingernails" is another rock-on song, though a little overproduced on the vocals.

Another empowering track "Imperfection" can help you through life struggles while letting out more of that rock/metal fury. The chorus is relatable for anyone realizing where those struggles might lead them to. "Under My Skin" is another soft melodic ballad that isn't all that great. The vocals in "Energy" are so energetic, "Everywhere I go I can’t escape your energy". Finally, "Cycle Down" ends it all in reckless abandon. Cool track, but I wish the album could've ended with one of the aforementioned ballads.

Collide has shown Skillet really making their way to the alt-rock/metal generation. And it has still pleased listeners in the next couple decades that would follow. If my brother and I both end up saying goodbye to alt-rock/metal for real one day, this offering can still be something for us to remember....

Favorites: "Forsaken", "Savior", "My Obsession", "Collide", "Imperfection", "Energy"

Some discoveries may have an interesting backstory from my perspective. When this Ten After Two album was added to the site, I realized that its cover art is a lot similar to that of Bullet for My Valentine's Fever. They both have the same "bobcut hand-bra girl" image! Coincidence? Rip-off?!? I have no idea, but it made me up to checking out this album, which is good but somewhat generic...

Ten After Two first entered the scene with their EP If You Don't First released the prior year. The scene being "Risecore", referring to Rise Records bands that blend heavy breakdowns with clean choruses. In their only album to date Truth Is..., they take those aspects and crank them up a notch.

The beginning track "Yes" has what to expect from Risecore. Hardcore screams and falsetto cleans fill the track up to the brim. Although the riffing is interesting, that's not really an opening song to remember. Then "Before You Know It", this second track dominates further. The cleans are increased and in a good way. The vocalist has fantastic range in both his singing and screaming. The guitars are worth hearing for all their technicality to balance out with the breakdowns. "Dead After Dallas" continues the well-done vocals. Sadly, it's brought down by the sh*tty lyrics. Yeah, 80% of those lyrics are pretty bad. I would like that track more if it had an instrumental version. "Satan's Slumber Party" is heavier and has much better lyrics, "I've never felt so alone or so alive, I call this one my favorite strain, the ambulance showed up too late".

Bring the pace back up further is "Anxious". It's a quick heavy track right from the intro, soon leading to a catchy chorus and a haunting synth-infused breakdown. "Well, Oh Well" is also good yet losing the earlier heavy energy. Really making up for the album's mistakes is the title track which is the best highlight here. Everything is done perfectly in the guitars, lyrics, and chorus. The absolute pinnacle of the album, and that's my true opinion! An interesting track follows, the accurately titled "Interlude in D Minor". Just some eerie guitar with background noise, which is fine but not interesting.

The awesome "The Awe Song" is another one of the best tracks here. But then it leads to another one of the worst, "A Sight at Sea". It's just clean pop-ish filler sh*t that sounds bad in both the music and lyrics. Now I'm wishing this album would be over, in case another f***-up comes on. Fortunately, the closing track "Believe Me" isn't that. More of a scream-less power ballad starting with soft piano, but it's done in a way that pleasantly surprises me. Still not really the best though.

This young band (and I mean YOUNG, they were in their late teens) have made good effort in this album, despite the g****mn generic filler. It's too bad they split up after this album, but can there be more potential if they reform in the future?! That would be great! But I guess the truth will remain out there....

Favorites: "Before You Know It", "Satan's Slumber Party", "Anxious", "Truth Is...", "The Awe Song"

Throughout part of my life, I feel in some ways connected to alt-metal and The Gateway, then I end up disconnected from that genre and clan because I'm just not feeling it anymore. Every once in a while though, a solid alt-metal offering comes along and hits me in the face. Such is the case for this Snapcase album...

Their third album Designs for Automotion was made as a follow-up to the critically acclaimed Progression Through Unlearning from 3 years prior. Vocalist Daryl Taberski continues his macho yet high screams. In fact, a lot of the sound here is aggressive, though here they have more of a hardcore/alt-metal sound. The rage also comes from Timothy Redmond's drumming, particularly in the hardcore "tin-can" snare that's actually a lot more tolerable than the one used in Metallica's St. Anger.

Already giving us the best of this offering is "Target". It doesn't have the same punch as the opening track for Progression Through Unlearning, but it's still heavy as b*lls. "Disconnector" sounds the experimentation of OLD given a mainstream turn. Interesting glitchy effect at the end. "Bleeding Orange" has more of that hardcore drumming.

Bouncing through in the intro is "Typecast Modulator" which cranks up the hardcore heaviness while being mainstream enough to have its own music video. Are you tuned in for "Are You Tuned In?" Maybe not for me. This may remind some heavily of a later band, Turnstile. "Twentieth Nervous Breakdown" (I almost typed that as "Twentieth Century Breakdown", thinking of Green Day much?) is another awesome rocker. The more repetitive "Energy Dome" isn't too bad when Taberski continues to scream his lungs out alongside the usual blazing riffing.

"Ambition Now" is more ambitious and f***ing underrated. This may have planted the seed for Vision of Disorder taking on a similar style the following year. "Break the Static" is an influential classic. Where would some metal/hardcore bands be without it!?! "Blemish" is pretty great despite having some blemishes. "Box Seat" still has the album's sound but a bit of the sludgy mathcore of Knut and Botch has bled in.

Designs for Automotion is literally exactly a year younger than me, released on January 25, 2000. I bet the earlier-born millennials were having fun listening to this while skateboarding. Whereas over 25 years later, I can enjoy this while chilling at home. And I'm sure the same can be done by other music listeners out there.....

Favorites: "Target", "Bleeding Orange", "Typecast Modulator", "Twentieth Nervous Breakdown", "Ambition Now", "Break the Static"