Shadowdoom9 (Andi)'s Reviews

Wow... I never thought a metalcore band that was at the top of their game in the first 3 albums would drop down in quality like this. They would've had the potential to keep up their fantastic style of adding melody to the heaviness and metallic hardcore, but Wasted Youth had really disappointed their fans, having gone too far from what they're known for, overdosing on melody and clean singing. I'm sure those fans have migrated to listening to The Ghost Inside where their ex-drummer Andrew Tkaczyk is at now...

Back Burner had a much better balance clean singing and melody with brutal growls and heaviness. Wasted Youth went too deep into the former side. After producing Back Burner, Tom Denney decided to give the band a different writing path that includes emo-sounding choruses which are more suitable in his former band A Day To Remember. They make emo choruses, For the Fallen Dreams make heavy breakdowns. Denney took advantage of the production by making the guitars and harsh vocals sound muddy, while the cleans get more clarity. Now those cleans by Dylan Richter sound forced and lack their earlier power. No wonder Tkaczyk prefers to stay with The Ghost Inside!

Opener "Hollow" sounds promising with the band's heaviest riffing at the time. The melodic chorus and the brutal breakdown are in a better contrast here. Richter's clean in "Resolvent Feelings" sound like they been run through autotune. "Please Don't Hurt" is where Dylan Richter attempts to add a punk edge to his cleans but ends up sounding whiny and turning that song into a draggy disaster. The heavier riffing comes back on in "Until It Runs Out" that can make you feel the moshing adrenaline.

"Sober" is a decently catchy song. "Living a Lie" sounds like it's written the way A Day of Remember had back in their first two albums, and it works quite well. The poppy hooks in the beginning of "Always About You" sound great here and make that track another highlight. "Moving Forward" doesn't really move forward at all, attempting to mix A Day to Remember with As I Lay Dying but ultimately falling flat on the face. Then we have the album's heaviest entry "Your Funeral", yet the guitars and vocals sound too bland and not reaching the heights of their earlier albums.

"When Push Comes to Shove" has some nice surprises that end up spoiled by those d*mn vocals. Interestingly, "No One to Blame" makes a solid highlight despite heading closer to easycore. It has a catchy chorus of gang vocals, and the screams sound more decent. Listening to the short two-minute "Waking Up Alone", I'm appalled by how tone-deaf Richter is even the softest moments. "Pretending" closes this ill-fated album quite heavily, including a powerful breakdown to remind me of what they were.

There's not much that sounded right for this band in their incoherent weakest link, Wasted Youth. But don't worry, For the Fallen Dreams will become better again when the professional writing skills of their former drummer make a comeback in the next round....

Favorites (only songs I really like): "Hollow", "Until It Runs Out", "Living a Lie", "Always About You", "No One to Blame", "Pretending"

Founding drummer Andrew Tkaczyk had been in For the Fallen Dreams throughout the first 8 years of the band's activity. He left the band in early 2011 shortly before the recording of this album Back Burner and joined The Ghost Inside. When Chad Ruhlig returned a couple years later, so would Tkaczyk, albeit in the songwriting department. Another couple years later, Tkaczyk lost his leg in a tour bus crash involving The Ghost Inside, but he's still going strong in his current band.

Despite Tkaczyk's departure from For the Fallen Dreams, the band still have plenty in store in Back Burner! You can't ignore the pounding anthems they've made in this 2011 album to make you join in on the ride.

"Say What You Will" kicks things off with more of the band's heavy metalcore/hardcore determination. The production by Tom Denney, former founding guitarist of A Day to Remember, strikes with gigantic depths. It has helped with the band's much-needed epic tone. "Deep Down Inside" keeps up the idea of spicing up the mundane verse-chorus structure with destructive breakdowns. You'll certainly be hooked by "Complicate the Situation" with your veins pumped up. The live crowd will certainly be fueled up by the riffing, anthemic chorus, and a brutal breakdown to shake the arena. "Only Unopened Arms" shows the band's evolved writing that they put out with all their heart, without having to resort to the usual crushing metal breakdown.

"My Anthem-Like Symphony" continues the idea of adding in an anthemic chorus and heavy breakdown. Crying out for hardcore speed is "The Big Empty" in which the chorus is quite catchy, yet the lyrics are a bit less mature. "Bottom Feeders" is the most unexpected track of the album. It's a soft ballad to act as an intermission for the album. It's actually a good song worth a few listens. "Don't Give Up, Don't Give In" blends fast beats with melody similarly to The Ghost Inside, and it's a massive anthem to burn things up around here. They'll never give up or in!

"The Human Collective" has some solid modern metalcore a bit like Bring Me the Horizon at that time. Ditto with "Let Go" that is basically one of Asking Alexandria's breakdowns at that time turned into a full song. "Yellow" welcomes in the mainstream melodic metalcore of early Atreyu, enhanced by the cleans of Lower Than Atlantis' Mike Duce, while staying in the heavy realm. "Fist Fight" ends the album as a heavy mosh-monster. Let the bodies hit the f***ing floor!

In just less than a year, I'm already a big fan of For the Fallen Dreams. Though in Back Burner, it seems like they're losing a bit of the originality of Changes. Despite that, their amazing blend of heaviness and melody continues. With massive hooks, riffs, and breakdowns, this album might just convert you fully to the metalcore lifestyle!

Favorites: "Say What You Will", "Complicate the Situation", "My Anthem-Like Symphony", "Don't Give Up, Don't Give In", "Yellow", "Fist Fight"

Having not started listening to For the Fallen Dreams until last year, I knew I couldn't miss out on the incredible music this band creates. They've already proven their achieved potential in their debut Changes. It was clear from that album that they still had a lot of strength and talent, proven in their continuation of perfection, Relentless!

As awesome as Changes is, shortly after its release there was a change of vocalists. Chad Ruhlig stepped away from the mic for 5 years, and during then, Dylan Richter took over. You might not notice that immediately from the growls, until you hear something that wasn't used in their debut, clean singing. The heavier fans might be turned away, but for me, they give this album a better melodic edge.

"The Call Out" is a soft intro to invite you into another metalcore journey. Abstract guitar segues into "Perceptions", filled with heavy aggression. The heaviness would then fade down to let the melody shine. With that interesting blend in the drums, guitars, and vocals, you can definitely hear what other bands have like Parkway Drive, Misery Signals, and even Emmure in the breakdowns. "A Plethora of" has more of the clean vocals, in nice contrast to the heaviness. Same thing with "Nightmares", but the chorus has someone else doing the cleans, that someone being A Day to Remember vocalist Jeremy McKinnon. I was already a fan of that band and his guest appearance in an August Burns Red song, so that's a great treat. Both Jeremy and Dylan's clean vocals help make the album's sound more complete there.

"December Everyday" is another interesting track. The intro sounds close to Misery Signals and gets you hooked up, then the music continues to evolve from there. The vocals fit well in unpredictable variation, despite mostly being brutal growls throughout that song. It even leads to an atmospheric solo. "Defiance" continues the focus on brutal growling. "Smoke Signals" continues the perfect blend of heaviness and melody in the riffing. "In Sincerity" can be considered a polar opposite to the previous 3 tracks, having just clean vocals and melodic harmonies in the instrumentation. A sweet mind-blowing highlight!

"Before I Regret" has catchy heavy riffing. The drumming technique has more to do with As I Lay Dying than Between the Buried and Me, filling with interesting groove without going all-out technical. "Two Twenty Two" has a brutal intro closer in common to The Acacia Strain. The riffing builds up and breaks down in a h*ll of a monstrous breakdown. "Resurface the End" rolls with gigantic punches. "The Pain Loss" ends things with nice clean passages.

All in all, Relentless is another masterpiece by this incredible band. It actually isn't entirely perfect because it lacks a small part of the charm of Changes, so the percentage rating is a little over 95%. Nonetheless, if you're a metalcore fan like I am, this is something to love at first listen!

Favorites: "Perceptions", "Nightmares", "December Everyday", "Smoke Signals", "In Sincerity", "Two Twenty Two"

Metalcore does not get as much respect as it deserves, especially not from metal purists out there. One of the more underrated bands of the genre is For the Fallen Dreams. Their debut Changes is one of my favorite metalcore debut albums, with many of the songs have a perfectly equal blend of melodies, riffs, and breakdowns. If masterpieces like this are getting little attention nowadays, changes shall be made!

This perfect balance is what makes this band so unique. The breakdowns are made beyond imagination and they would make you get on your knees and beg for more. You'll find a lot of this awesomeness if you give the album a go.

"Brothers In Arms" references soldiers in distress at war, "Where were you, when I needed you?!" Next song "New Beginnings" has amazing riffing and a total mindf*** of an awesome breakdown midway through. The tempo slows down for the breakdown going deeper than the Mariana Trench (not to be confused with that August Burns Red song), perfected by the guitars not touching down immediately. "Hopeless" has an amazing riff verse surrounding the one-minute mark, and the ending breakdown also rules.

"Last Dying Breath" has an epic final third that adds positivity to the earlier violent lyrics, "My last dying breath, I'll bleed for you, my last dying breath, I'll die for you!" The first of two 2-minute interludes, "This World Around Us" actually has a small lyrical verse, and those few lines are quite great. "Never Again" is quite strong in the music and lyrics. The final third of that song is interesting as it starts an amazing bridge riff that leads into a brutal breakdown that's slightly forced but still punishing as f***. The title track is the second interlude, this one being an instrumental. That shows how beautiful the band can make their music without having to rely on lyrics.

"Vengeance" is perhaps the most aggressive track here, and I especially love the final 30 seconds, when a growl of "STEP OFF!!!" kicks off a pulverizing breakdown. "Falling Down" has more lyrical maturity. "Through the Looking Glass" is an awesome 6-minute epic. The one-minute intro is beautiful, but not as much as the final two minutes of epic glory, concluding the song and the album with synthesized strings that fade into a solitary snare drum, as the war ends and the surviving soldiers march home...

I could probably write a novel about the war depicted in the album that can be used as its soundtrack. This band and album was missing in my life until last year, and I would love to continue listening to Changes any time. A true masterpiece in my ongoing metalcore quest!

Favorites: "New Beginnings", "Last Dying Breath", "Never Again", "Vengeance", "Through the Looking Glass"

The alt-metal side of Black Veil Brides is now at a greater level than before! Still not reaching the metalcore perfection of their debut, but getting closer. They decided to make another concept album in The Phantom Tomorrow, similar to Wretched and Divine and Vale but following a different story from that of The Wild Ones. So it seems the Black Veil Brides conceptual universe is expanding...

Ever since they dropped from their fantastic emo-metalcore to lame hard rock/glam metal, they were slowly climbing back up in maturity, and The Phantom Tomorrow was the best they've gone in 10 years. And they didn't go all-out experimental, they just stood by their sound, making the concept all about the story and lyrics.

The orchestral title intro sets the stage as dramatic melodies begin to appear. Then it's onwards to "Scarlet Cross", a rock-on track of melodic energy from the riffs and chorus. That shall get the crowd pumped in live shows. "Born Again" makes dynamic jumps back and forth from dramatic to anthemic. The blend of heaviness and melody is what keeps the quality high up. Heading into mid-paced hard rock is "Blackbird" with interesting lyrics, "Just look into the sky and you’ll be become the blackbird."

"Spectres" is another orchestral interlude, with some electronics added in. It segues to "Torch" which is a heavy track that almost, just almost, comes out as a power ballad. Some of the best aspects of the album come in with a melodic string-filled chorus and catchy lyrics. "The Wicked One" has the usual heavy riffing and drumming that leads into a mighty commanding chorus, "When the truth becomes your demon, how can you just keep believing?" The headbanging "Shadows Rise" is darker, heavier, and more progressive, as their 5+ minute tracks seems to be. The strings and riffs greatly catch up with the tempo changes. A compelling addition to the album's second half!

"Fields of Bone" returns to what makes the first two full songs so great; riffs, rhythms, and vocals that are all perfect for the live crowd. Then "Crimson Skies" is a heavy rocker while making room for melodic vocals and soloing. "Kill the Hero" slows down the heaviness for a dramatic march. The terrific closing track "Fall Eternal" is just like the title track of Vale, a slow ballad to end it all smoothly, while adding some adjustments to make things more interesting.

In the end, Black Veil Brides has truly showed what they're capable of when going the alt-metal direction. If you'd like to explore Black Veil Brides beyond their metalcore debut, The Phantom Tomorrow is the right place to start. Someone who isn't a BVB fan today would then become one tomorrow....

Favorites: "Scarlet Cross", "Born Again", "Torch", "Shadows Rise", "Fields of Bone", "Fall Eternal"

The Wild Ones' story wasn't just in Wretched and Divine. Black Veil Brides had the idea of expanding the concept with a prequel album. The band certainly had fun making this album, but it would eventually be their last with longtime bassist Ashley Purdy. Although both parts of the concept are good, I give Vale slightly more pointage than Wretched and Divine, having more maturity...

Vale was released on January 12, 2018. I remember that date very well as when I initially severed ties with more epic melodic metal genres for heavier ones like metalcore, though I wasn't into Black Veil Brides until recently. The band's debut is still lightyears ahead into perfection, but Vale is more enjoyable than any of the albums in between.

"Incipiens Ad Finem" is just the spoken intro. Luckily, they don't have any more of those interludes in this album. And now, "The Last One"... More like the chosen one, as it's perfectly chosen as the opening song. "Wake Up" isn't as perfect as the previous track, but it still impresses me with its anthemic vibe and great soloing. "When They Call My Name" is a bit mediocre, while not entirely bad.

"The Outsider" is an excellent single, the perfect first teaser of the album back in late 2016. Everything's in great balance there! "Dead Man Walking (Overture II)" is the longest song by the band, and probably the best one too. An awesome epic! "Our Destiny" is a little closer to filler territory. "The King of Pain" is slightly more enjoyable.

"My Vow" is more upbeat and fresh. This is the kind of energy I expect this band and similar bands. "Ballad of the Lonely Hearts" isn't all that great, and it doesn't sound like too much of a ballad. "Throw the First Stone" I can accept a little more. "Vale (This Is Where It Ends)" is where the album really ends on a somber note. This power ballad is a grand way to complete the Story of the Wild Ones.

As the alt-metal era of Black Veil Brides goes on, they gradually get better and better. However, they're still far away from the metalcore glory of their debut. That said, if you'd like to hear the band's mid-2010s sound in a more mature fashion, Vale has it all....

Favorites: "The Last One", "Wake Up", "The Outsider", "Dead Man Walking (Overture II)", "My Vow", "Vale (This Is Where It Ends)"

The hard rock/alt-metal side of Black Veil Brides continues in their 4th album IV. Only this time, they decided to go back to some of the different aspects of Set the World on Fire by restoring a bit of the glam elements and sticking with individual songs instead of a concept album. If not for the more alt-metal direction, this would've been Set the World on Fire 2.0, and I wouldn't want that now, would I?

2014 was when the classic thrash scene was slowly rising back up with new albums by Exodus and Overkill. It was many years before I became interested in the band and alt-metal/metalcore, so I missed out on the hype. Oh, and the album is produced by Bob Rock, known for his work with Metallica, Mötley Crüe, Bon Jovi, Aerosmith, etc.

"Heart of Fire" is a great start with riffing and soloing that's both heavy and catchy. Level it up further is the amazing "Faithless", one of the best songs by the band. "Devil in the Mirror" is where the weak side of the album starts coming in, not really impressing me much. "Goodbye Agony" is a depressive power ballad that I love. It can be considered the "Lost It All" of this album!

"World of Sacrifice" has more of the earlier heavy greatness. "Last Rites" just has the generic glam of Set the World on Fire. "Stolen Omen" is much less interesting, and not even the metalcore growling can help this sh*tter.

"Walk Away" is another amazing ballad. I love the soloing, and many sections make great use of the 6-minute runtime. "Drag Me to the Grave" is a huge disappointment, perhaps the worst song the band has ever done. Not even Set the World on Fire has stooped that f***ing low! "The Shattered God" has more decent heaviness. Same with "Crown of Thorns", though not really the best ending track. I would rate this album a star higher if the killer bonus track "Sons of Night" was part of the standard album.

IV is pretty decent, but their attempt at mixing the sounds of Set the World on Fire and Wretched and Divine has resulted in an album in which almost all the greatness is in the first half. If we could replace "Devil in the Mirror" with "Sons of Night" and remove everything after track 5 except "Walk Away", this would've been a kick-A EP right there....

Favorites (only songs I really enjoy): "Heart of Fire", "Faithless", "Goodbye Agony", "World of Sacrifice", "Walk Away", "Sons of Night"

Not much about Black Veil Brides can reach the greatness of their metalcore debut We Stitch These Wounds. The quality tries to climbs back up but falls down again. Their 2013 album Wretched and Divine: The Story of the Wild Ones gets the band up to a good level, heading into hard rock/alt-metal and being a concept album. It's not often a band that isn't progressive/power metal can make a concept album of cinematic proportions, but I'm all for it...

Wretched and Divine certainly makes up for the d*mn glam of Set the World on Fire. The concept is quite good, and the cinematic part comes from the symphonics and spoken word interludes, the latter of which doesn't really do the album much favors.

"Exordium" is the spoken intro. It leads to the excellent "I Am Bulletproof", starting the album with one of the best here. "New Years Day" is nicely done. "F.E.A.R. Transmission 1: Stay Close" isn't too bad for a spoken interlude, adding in some nice dramatic violins. The title track could've had some improvement, but I still like it. Now, "We Don't Belong", that's a song I truly enjoy.

"F.E.A.R. Transmission 2: Trust" is another unwanted transmission interlude. "Devil's Choir" doesn't impress me much either. "Resurrect the Sun" is a true step up and one of the best here. "Overture" is the only enjoyable interlude, as symphonic as it should be. "Shadows Die" I also like. "Abeyance" is the worst and most unnecessary interlude here.

"Days Are Numbered" is another well-done highlight, featuring The Used vocalist Bert McCracken. "Done for You" is the weakest non-interlude song here. "Nobody's Hero" is another good track. "Lost It All" is a depressive power ballad that I love. "F.E.A.R. Transmission 3: As War Fades" has more intense strings. "In the End" is the most amazing song in the album. It was written in memory of Andy Biersack's grandfather who guest appeared in the debut. "F.E.A.R.: Final Transmission" ends it all decently.

The Ultimate Edition of Wretched and Divine comes with 3 bonus tracks which I don't wanna talk about as they return to the previous album's glam sound, apart from the heavy "Victory Call" that I like. The main album has a pretty good concept, songs, and guitarwork. Would've been greater if not for those sh*tty interludes....

Favorites: "I Am Bulletproof", "We Don't Belong", "Resurrect the Sun", "Overture", "Days Are Numbered", "Lost It All", "In the End", "Victory Call"

If you have gained the motivation from Black Veil Brides' debut to overcome the b****rds dragging you down and keep living, then that's a job well done for that album. Sadly, their next album has taken a quick 180. While the lyrics are still motivational, the majority of it ends up coming out as cheesy. And instead of thinking, "What an inspiring offering!", you would instead think "What the f***?!?"

The band's entryway into Universal Republic traded their emo-metalcore sound for attempting to revive 80s hard rock/glam metal which part of what made a lot go wrong. At least Andy Biersack has improved his singing, with a Metallica-like rough edge...

I can only accept the 5-track run of tracks 3 to 7, starting with "Fallen Angels", which shows the better side of motivation to take seriously, like Skid Row but better! "We scream! We shout! We are the fallen angels! "Love Isn’t Always Fair" should definitely appeal to fans of both rock and metal. "God Bless You" has a more punky motive, which is all right despite being a little trite. Same with "Rebel Love Song". Then we have "Savior", which starts as a symphonic love ballad, but right at the last minute, the heaviness makes its comeback, and we get to hear the only instance of metalcore shrieks in the entire album. Love that song, though I still prefer its sequel track in The Mourning EP.

And the rest of the album is just too glam for my liking. Though I still like the E-flat/drop D-flat riffing and DragonForce-fueled shredding. But all I'm gonna say is.... KISS called, they want their 80s glam metal sound and makeup back!

Favorites (only songs I like): "Fallen Angels", "Love Isn’t Always Fair", "Savior"

It's no surprise that the more hardcore fans of hardcore/metalcore know a bit of Strongarm. With powerful songs and Christian lyrics, the band helped developed the Christian hardcore/metalcore scene. Their debut Atonement marks a decent heavy start...

The music is on top, though the production is a bit amateur and thin, which causes a decrease in quality stamina. That's too bad because when the band performs, it's as if the instruments were a gift to the members from God. Ex-vocalist Jason Bergerren has some inspiring roaring vocals like he was blessed with such a voice. However, as furious as his vocals sound, they sometimes come out as plain and lose some lyrical clarity. Nonetheless, he's got intense talent.

"Division" protests against blind ignorance that spawns hate. "Trials" opens up on Christian struggles, "Again and again I struggle with myself, my shortcomings. My strength, my soul, so weary of this. I have to face the pain of my fault. Within these tests, these trials, the marks I miss." The purpose and strength isn't revealed until the end.

Because of the flawed production, there are some songs I don't like that I won't mention, but "Stand Together" is one of my favorites here, saving the album's grace with a message of never giving up on grace. "Count the Cost" motivates Christians to overcome the burdens of who they are. This can stick to me long despite me not being a Christian. After those songs about inner struggles, "Innocence Lost" takes on the despair of abortion while turning it around with hope, "a life of regret, still grace abounds". That's a good example of setting awareness to abortion rights. "Strengthened in Faith" is a moving finale with a perfect reminder of strength and power.

The lyrics in Atonement are pretty much the standout aspect of the album. They're very well-thought in the Christian realms. Any Christian listener can realize their strength to prevail, given to them by the Lord. Recommended for Christians and hardcore fans! Though it would be much better if they improved on the sound production....

Favorites: "Trials", "Stand Together", "Count the Cost", "Strengthened in Faith"

August Burns Red has one of the most solid discographies to come from a metalcore band. They've made great albums in their career, including the perfect Constellations. I've always wondered if there would ever be another August Burns Red that as much of a masterpiece as Constellations. Well I shall wonder no more with their new offering Death Below! And how is it as awesome it is?...

The album is a much further throwback with their fast pacing in songs that I can consider total bangers. Plus a few songs each have a guest appearance from a vocalist or guitarist of another well-known metalcore band, and that's often a grand treat. With that, you're gonna find the most exciting dynamics from August Burns Red in a long time!

The haunting spoken intro "Premonition" sets you up for the chaos that would soon come... "The Cleansing" clearly shows the band's relentless heaviness from their earlier days with drummer Matt Greiner firing away with blast-beat machinery. That's one of two nearly 8-minute epics in this album that are the band's longest, not including the closing epic of their 2005 debut, and it's full of stylistic transcendence. Landing in the first guest is "Ancestry" with Killswitch Engage vocalist Jesse Leach, whose cleans greatly complement the growling of Jake Luhrs. The song displays the album's main lyrical theme of struggle and resilience during the pandemic. "Tightrope" includes a wicked heavy guitar solo from Jason Richardson (of All That Remains, formerly of All Shall Perish, Born of Osiris, and Chelsea Grin).

"Fool’s Gold in the Bear Trap" starts as soft as a bunny in the first half, then switches as heavy as a bear in the second half. Bringing back memories of Messenger with the new album's first single, "Backfire" showcases the killer wonders of this album that you can't help but look back at in future generations. "Revival" is a brutal crusher similar to their earlier era. Also winning back some fans is innovative guitar work by JB Brubaker. "Sevink" is another interlude, this one being a instrumental break, sounding beautiful before the brutality bursts back in the next song...

"Dark Divide" puts the guitars at center, unleashing the band's rage at their heaviest. "Deadbolt", while staying brutal, has some classic metal-like sections to shout along to through dark loss. From the intro up, "The Abyss" (with Erra's JT Cavey) increases in intensity. Then it ends with the second 8-minute epic, "Reckoning". I know you metalcore fans wanna hear Underoath vocalist Spencer Chamberlain unleashing his vocals as furious as early Bring Me the Horizon. Those make the best moments of this album!

All in all, Death Below can show you how to overcome the dark struggles of this decade and look into the light, through heaviness and despair. August Burns Red's 10th album can very well be their greatest, most ambitious work yet!

Favorites: "The Cleansing", "Ancestry", "Backfire", "Revival", "Dark Divide", "Reckoning"

One of the most popular extreme progressive metal bands to come from Australia, the band who was hiding in the unknown in the 2000s propelled into fame with 3 albums in the 2010s. They've taken on a progressive frenzy of extreme metal genres and classical/Latin influences including symphonic violin. They still have their perfect magic in their next album Exul. Though I would subtract a few percentage points from perfection is due to less of the eccentric fun. However, their cohesive focus is still intact. So while it's slightly behind the perfect 2010s trio of gems, Ne Obliviscaris is continuing their journey as the masters of Aussie progressive metal!

4 out of 5 dentists- I mean, members of the band from all 3 of their previous albums have returned for this one. The odd one out, drummer Daniel Presland left a year before its release, but long after recording his parts. Though he had been with the band since their unknown years of the 2000s (except for a break in 2012), the pandemic, which also halted this album's recording and release, and his commitments with his new band Black Lava, were two reasons for his departure. The other difference in lineup is, they have a new bassist Martino Garattoni, who's been with the band since Urn's release. They all really create something phenomenal! According to harsh vocalist Xen, the music is darker while maintaining the usual abstract lyrics, a journey through destructing and despair.

Opening with guitar riff/rhythm fire, the 12-minute "Equus" shows the band staying as glorious as ever! The song and its video is dedicated to the victims of the 2019/2020 Australia wildfires that affected many people and animals there.

The two-part polar-opposite 17-minute epic "Misericorde" begins with "As the Flesh Falls", filled with tech-death fury and progressive metal glory! "Anatomy of Quiescence" is a mournful classic track, sounding beautiful while staying unpredictable. There are barely any vocals there, and that kinda makes things sound longer than should be. Still all this exceptional chemistry is what makes that part stand out.

"Suspyre" doesn't have the diverse surprises I was expecting in a 10-minute track, or in a Ne Obliviscaris song, but it still rules. "Graal" is mighty impressive, with the soloing by Benjamin Baret really blowing your mind. What's more impressive is, violinist/clean vocalist Tim Charles let his daughter guess appear on violin during the last few minutes. The outro finale "Anhedonia" is the perfect ending to this trip. Here we have a morose blend of piano, symphonics, and Charles' vocal chanting. A disturbing yet peaceful ending after all that progressive heaviness.

Exul is, while not as 100% perfect as their 2010s gems, probably both the bleakest and most beautiful offering they've ever done, combining brutal with somber. It can be quite an adventure for any listener, so you have to really be up for those texture-filled arrangements. In wild effortless triumph, Exul can surely make sure that the band's shining legacy continues on!

Favorites: "Equus", "Misericorde" (both parts), "Graal"

One man, one guitar, 3 other guys to back him up with their own instruments... This is Vinnie Moore, known as one of the heroes of metal guitar shredding besides Yngwie Malmsteen! Anyone who keeps comparing the former is a direct rip-off of the latter should stop f***ing around and pay closer attention to his debut.

Mind's Eye has some superb shredding throughout the album. Just because Vinnie Moore came after Malmsteen is no reason for this man to be deemed a clone to that key developer of neoclassical metal. This album is much more than that! Mind's Eye has emotional aggression, and it's more progressive, with the neoclassical side being saved for more of just the soloing technique without being the main genre. The progressiveness is helped out by the spacey keys of Tony MacAlpine.

"In Control" starts the album heavy in the riffing just before the catchy leads enter the picture. After two minutes, MacAlpine performs astonishing synth soloing, having the complex velocity of the leads that return shortly after. "Daydream" comes in as one of Moore's most well-known tracks. It's more mid-paced, while the listener can marvel through his melodic leads. Over 3 minutes on, there's more spacey synth soloing from MacAlpine, sounding so f***ing mesmerizing, you'll be hypnotized within the first few seconds. Heading on into "Saved by a Miracle", acoustic guitar opens the track before some great leads, followed by aggressive drum soloing by Tommy Aldridge!

"Hero Without Honor" is an honorable standout, a 7-minute epic that showcases the best of both the progressive (in the keyboards and complexity) and neo-classical (in the soloing and some melodies) worlds. "Lifeforce" almost reminds me a bit of DragonForce's leads and solos. Same with "N.N.Y.", though with some slight weakness.

The title track really displays Moore's pioneered mix of progressive/neoclassical metal, similar to how Rorschach invented metalcore and Meshuggah invented djent, though obviously in a different genre. "Shadows Of Yesterday" can be considered the album's power ballad. "The Journey" is a recommendable end of this amazing journey. I think I hear some of the song's progressiveness and melody in later bands like Persefone. No wonder that band had the idea to cover a song by neoclassical metal duo Cacophony.

Vinnie Moore's debut is quite solid throughout. Even though it's not really one of the most unique albums I've heard, most of the songs have interesting freshness in every bite. If you're up for a progressive mix of neoclassical solos and spacey synths, this album shall enter your mind!

Favorites: "Daydream", "Hero Without Honor", "Lifeforce", "Mind's Eye", "The Journey"

It's amazing how when a band ends up missing earlier recording/release deadlines due to issues like the pandemic, the result is still wonderful. Although some other bands like Trivium record an album right after releasing the previous one, Kamelot took the time to strengthen their songs into perfection, barely having any rush. With that, the wait was definitely worth it with their first album in 5 years, The Awakening, released on March 17!

I guess you can consider this album Kamelot's reawakening. As amazing as this is, I find some slight disappointment that knocks a half-star off the otherwise perfect score that would've made it the band's best release since Ghost Opera. See, the minor issue is, the band has modernized their symphonic metal sound in two of the albums from the era of current vocalist Tommy Karevik such as Haven and The Shadow Theory, as they try to reinvent the genre's wheel. While there's a slight bit of that in The Awakening, the rest of what they have now is a return to their earlier majestic melodies and emotions. They've awakened after 5 years of silence and brought back their roots!

The "Overture" is the instrumental intro that serves as an epic setup for the symphonic power metal action to come... The grand "Great Divide" kicks it off and rides like a cinematic rollercoaster. Kamelot is indeed back! Heartful single "Eventide" has restored the joy and confidence I've had for this band that has allowed me to still follow their power metal along with DragonForce. The anthemic "One More Flag in the Ground" pulls you straight through power metal, though I must admit, my thoughts there are mixed. "Opus of the Night (Ghost Requiem)" has reminded me of the band that got me into the symphonic metal part of my epic metal taste 10 years ago. The guitar harmonies and orchestra make a fantastic combo. The song itself is like a sequel to the title track of Ghost Opera! Tina Guo performs beautiful cello soloing. An unbelievable single!

"Midsummer’s Eve" is a beautiful atmospheric Celtic ballad. A warm addition to that track is some more of the cello/violin by Tina Guo. "Bloodmoon" works well in the storytelling lyrics, though a bit faulty. Then there's the emotional yet heavy "Nightsky". That's followed by a progressive favorite, "The Looking Glass".

A true world-building anthem "New Babylon" shows you the Kamelot you know to love. The guest contributions by Simone Simons (Epica) and Melissa Bonny (Ad Infinitum) add in stellar dynamic. Wow, that's like "Sacrimony" all over again! Another piano ballad, "Willow" has the delicate passion of Nightwish's ballads, but it's a bit forgettable. "My Pantheon (Forevermore)" has the most impressive guitar and drums in killer balance with the earlier softness. The outro "Ephemera" is a pleasant orchestral finale.

With all that said, The Awakening marks a full comeback for the signature elements of Kamelot, with the best moments worth praising. However, it would've been perfect if a couple tracks didn't sound too recycled in the chorus and melodies. That was the small problem I've had with most power metal bands recently, which is why my revisits to the genre ultimate didn't pay off. Cliche tropes aside, The Awakening proves that Kamelot is a respectable band with all their wonderful grace. They're still on top of the game when it comes to European power metal to America. I'm glad this reawakening worked out so well!

Favorites: "The Great Divide", "Eventide", "Opus of the Night (Ghost Requiem)", "The Looking Glass", "New Babylon", "My Pantheon (Forevermore)"

Isn't it sometimes strange to start your journey through a band's discography with their uncommon debut, unless you intend to go chronologically? Yes or no, I can find some mature drama here. ...And Life If Very Long is an unforgettable burst of pounding energy in the riffs, rhythms, and vocals! There's also a bit of light mathcore experimentation in the time signature changes and breakdowns, along with slow melody that was once considered unusual for deathcore. The music sticks to your mind with powerful aggression. Thick production and nihilistic writing shows what the fans love along with diverse rhythms. It's the start of their ambitious evolution!

You can still find something worth appreciating in the over two decades since this album's release. Truly you can keep up the headbanging and stomping around. The lineup is different from their later albums, and only frontman Vincent Bennett remains from the original lineup, so basically the instrumentation from this album would never be the same as in subsequent releases. While this album never received the impact of attention it needs, there is a lot to expect from metal/deathcore.

"Cable Ready Techno Sl*t" has a bit of a Mushroomhead-like groove, while staying in their usual deathly metalcore sound. Definitely a highlight, though what stands out for me is the audio sample of what the force spirit of Obi-Wan Kenobi describes Darth Vader in Return of the Jedi, "He's more machine now than man." I'm a Star Wars fan, what can I say? The title interlude consists of another audio sample, this one from Norman Stansfield in Leon the Professional, "I take no pleasure in taking a life if it's from a person who doesn't care about it." The melodic outro of "Roadhead Road" is a fun way to end this song of hardcore/deathcore music and vocals.

"The Widowmaker" has more of what to expect from the album, though the entire first half is instrumental. "All She Wrote" was re-recorded from a demo that was put out shortly before this album, and the guitars in the intro verse remind me a bit of The Number Twelve Looks Like You. "Why is a Raven Like a Writing Desk?" punches through with some groove, though the chaotic mid-section has some riffing that's slightly out of place, while not detracting the album's perfection.

"Killing on Empty" slows things down with a breakdown, where the vocals have more energy and the tone has aggressive variation. Despite being uncommon, it really shines with rage. "Noah Will Be Your Grave" crushes you painlessly with full-on grooves rolling like a speeding train. "Doppleganger" without a doubt serves as an intersection between several of the hardcore/metal genres from earlier and later bands; the hardcore of Strife, the metalcore/melodic metalcore of August Burns Red and Parkway Drive, the deathcore of Chelsea Grin, and the melodeath of Avatar. Fantastic! The finale "Sloth Loves Chunk" is well-performed. A bit bizarre while having the aforementioned powerful aggression. It's not as diverse and epic as the previous track, but it still works as a great ending to this mighty offering.

Serving up some kick-A metal/deathcore, ...And Life is Very Long has admirable greatness to make the album stand out strong despite its lack of attention. With the production and sound varying from atonal heaviness to melodic softness, The Acacia Strain had already shown what's needed in any hardcore fan's life!

Favorites: "Cable Ready Techno Sl*t", "Roadhead Road", "All She Wrote", "Killing on Empty", "Doppleganger"

Sometimes I think about metal bands that are more popular but have yet to suit my interest and wonder, "Why the f*** am I overlooking a band that's so famous in one of my favorite metal genres?" I've listened to one other album and a few other songs from Killswitch Engage, but they did not hit the point of perfect enjoyment for me. It was hard for me to find the appeal of this band...until now!

This was before Killswitch Engage started taking on a cleaner modern approach in which the whiny choruses in some songs may be the reason why they don't hit me hard. The debut's sound apparently continues that of bassist Mike D'Antonio's previous band Overcast. There is very unique structure compared to the generic sh*t of what I heard.

Like the movie Michelle Yeoh won the Best Actress award for shortly before this review, everything everywhere all at once kicks through in "Temple from the Within". Without an intro, the instrumentation hits you non-stop. A great mid-paced start to this perfect experience! A good thrashy track, "Vide Infra" has more spoken/shouted cleans to fit with the screams. The brutal blasts of "Irreversal" level up the intensity, defining the sound to expect in the album.

"Rusted Embrace" has some awesome vocals here. "Prelude" is quite g****mn good for an instrumental. It's too bad not a lot of the more serious metalheads give the earlier material like that track more appreciation. It segues to "Soilborn" which is really solid.

Next track "Numb Sickened Eyes" is a killer track worth listening to. However, its ending a bit annoying and I feel the need to skip it. Still it doesn't affect the album's perfect score that's still staying steady. "In the Unblind" has more effective mixing. The powerful screaming, guitar soloing, and drumming is a great reminder of the album's strength. The outro track "One Last Sunset" ends the album smoothly, though they probably could've added some clean singing. Still a nice exit...

Although not everyone would ever enjoy this band's debut, I consider it a fantastic experience. Several years after a previous album review attempt, I finally found what makes the band one of the best of the genre, despite its difference from their later material. This is true melodic metalcore fans of the genre should enjoy. Greatly recommended!

Favorites: "Temple from the Within", "Irreversal", "Rusted Embrace", "Soilborn", "In the Unblind"

Metal's entryway into the hardcore in the 90s was often sadly forgotten. From the beginning to the end of that decade, metalcore bands back then failed to make global impact, only leaving behind templates for recent bands to use. I'm glad to be following this scene despite being 20 years too late. Spread the Disease's debut We Bleed from Many Wounds is an interesting emphasis on the metal in metalcore. Though it's not without a few hardcore screamo tricks that a few of the more metallic bands use...

I would certainly consider this album early metal/deathcore, but it's not enough. There are plenty of black/death metal structures and background keyboards without being pinned into both genres. The vocals are filled with gravelly hellfire to the likes of other bands in the extreme metal/hardcore category. Spread the Disease's riffing style is different though. While a few riffs sound punky, the rest of them show a lot of their Slayer influence. Most of the hardcore association actually comes from the band being signed to Eulogy Recordings, run by Morning Again's John Wylie. I'm guessing he must've given Spread the Disease the idea of a few hardcore riffs added to their metal.

"Quarantine" would've fit well for me 4 months before this review when I was in COVID quarantine, and it has the early deathcore sound later used by Despised Icon. "In Progress We Swallow" has some parts that remind me of the more early hardcore side of Candiria and Sikth, while unleashing the usual deathly metalcore. Midway through "Her Severed Head" is some Possessed/Slayer-like riffing, alongside occasional tremolos. The breakdowns hit hard without ever ruining everything.

"Shatter the Bolt" is a true 7-minute epic highlight. It has a bit of the melodic part of the sound planting a seed for Unearth and Trivium. Starting "Hymn for the Unheard" is some black metal riffing. "Origin" has a more technical deathcore sound that would spawn deathly bands like Origin and more hardcore bands like Born of Osiris.

Things get quieter in "Ephemerae" in the middle of its chaos. I really like this balancing contrast. "A Love Song" brings in some melodic metalcore/deathcore riffing that would be like a instrumental mix of Memphis May Fire and Chelsea Grin over a decade before those bands began their careers. "Common Grounds" is one last look towards the metalcore/deathcore sound that's much different from that of Attila.

We Bleed From Many Wounds is a pretty good debut for this band. A nice appealing way to add extreme into metallic hardcore in the late 90s ahead of time, though you might get a little sick of it in repeated listens. Sadly, this band remains deep in the forgotten hardcore/metal limbo. They distanced themselves from the plaguing trends of bands going as hardcore as Rorschach and Deadguy or as metallic as Slayer and At the Gates. They only take a bit of the energy of those bands enough to solidify their unique dark metal/hardcore sound. It's an interesting spawn point for the genre deathcore, and much better structured than their second and final album the following year....

Favorites: "In Progress We Swallow", "Shatter the Bolt", "Origin", "A Love Song"

From the ashes of his previous band White Zombie, this ghoulish metal man formerly known as Rob Straker began to rise with his own solo career in 1998. Rob Zombie started going solo, but why? Mostly because the course has run and each member moved into their own direction...

Hellbilly Deluxe is often considered a continuation to White Zombie's sound evolution that varied album by album, from noise rock to heavy metal then groove metal and finally industrial metal. Zombie had already proved right from the band's split that he's a solo guy, when he was banned from one of Korn's tours. While there's no chance that White Zombie will ever continue, Rob Zombie would become one of the most recognizable musicians in industrial metal!

The ominous intro "Call of the Zombie" has Zombie's future wife Sheri Moon reading a disturbing nursery rhyme, "Away ran the children to hide in their beds, for fear that the devil would chop off their heads". Then you can shout along to the highlight "Superbeast" and its gang-infused chorus. I saw the music video for that song quite long ago. And you can get pumped up with the single "Dragula", which I know because of a remix appearing in the Matrix, and Motionless in White's cover. That would work well for a teen to blast this song while driving their parent's car in a Halloween joyride. The title of "Living Dead Girl" is hard to take seriously despite the venomous music.

"Perversion 99" is a creepy exotic interlude, almost like a continuation of the last song of White Zombie's final album. "Demonoid Phenomenon" prevails in dark anarchy. "Spookshow Baby" is a little too spooky for me. Though not as disappointing as "How to Make a Monster", which sounds good yet hiding too deep in the low mix.

The disappointment is made up for by the punishing highlight "Meet the Creeper". Next up, "The Ballad of Resurrection Joe and Rosa W***e" sounds a bit ridiculous in both the song and the title, and who would argue with me there? "What Lurks on Channel X" is another disappointment. Same with "Return of the Phantom Stranger" which sounds too close to Marilyn Manson territory. The closing track "The Beginning of the End" is a bizarre industrial noise outro.

Zombie conjured a d*mn entertaining industrial metal spell with Hellbilly Deluxe. Pretty much most of the more well known half of the amount of songs are hard-hitting classics, with the lesser known side being disappointing and worth ignoring. Rob Zombie's solo debut has burnt his name onto the industrial metal shrine of fame....

Favorites: "Superbeast", "Dragula", "Demonoid Phenomenon", "Meet the Creeper"

As with Dead World, I was determined to complete my review journey through this band Lard. The band would go on hiatus in 2000 to focus on other projects, though there have been a few reunion shows. The core members Jello Biafra (Dead Kennedys) and Al Jourgensen (Ministry) recently announced plans to record via email contact. So another album in the future might be possible, we'll see...

Pure Chewing Satisfaction shows the band taking a look at the dark side of America, sounding apocalyptic without the music being too bleak or extreme. Jello gives the songs unique lyrics with strange phrases you wouldn't find in other bands.

Fans of Dead Kennedys and Ministry will be lucky to hear the catchiness of "War Pimp Renaissance". However, "I Wanna Be a Drug-Sniffing Dog" is a true classic that I would rate slightly higher than the first track. Just don't sing it out loud if you don't want your parents worried. Those unique phrases appear in "Moths", an eerie tune mentioning Al Jolson and Kool-Aid, despite the lyrics centered around trying to get a job.

"Generation Execute" has fascinating heavy riffing alongside the creepy yet fun signature vocals of Jello Biafra. Apparently, the riffing was reused from what was scrapped in the Ministry Psalm 69 sessions. Give me more, all day all night! "Faith, Hope and Treachery" looks back at baby boomers and relationship failures.

"Peeling Back the Foreskin of Liberty" is catchy in the riffing, yet repetitive in the beats. While the lyrics reek of political anarchy, it ain't serious, with lyrics mentioning Jews and Hillary Clinton. Still it's quite fun with a simple structure. "Mangoat" is filled with madness, with lyrics written by Jourgensen about someone who's half-man half-goat and shaves people. Biafra shines greatly with his vocals there! "Sidewinder" has lyrics told in the perspective of a snake after environmental catastrophe.

The sound of Lard is developed from what Ministry has, which includes real/fake drums and menacing guitar machinery. Pure Chewing Satisfaction is kind of in the middle, between the quality of their other two major releases, while still pleasing Biafra fans. The abstract lyrics dive through the industrial rock/metal light....

Favorites: "War Pimp Renaissance", "I Wanna Be a Drug-Sniffing Dog", "Generation Execute", "Mangoat"

1996 was around the year when heavy metal was completing its 5-years descent away from popularity. There are bands that experimented with was all the rage back then, just repeated the same sound without variation, or just outright split up. Dead World did not want to repeat their sound, but they had their own experimentation going on before splitting up a few years later. John Canady's project even switched from the big record labels to smaller labels...

For this album, Thanatos Descends, there has ended up being two different styles, the earlier deathly industrial metal and ambient noise. The ambient "Thanatos" tracks were recorded two years before the metal tracks, during the Dead World era in 1993, in collaboration with David E. Williams. That is quite a difference!

I would say this is a similar format to Spread the Disease's Sheer Force of Inertia, but of course, the heavier tracks, rather than being black/death metal/hardcore, are the dark industrial metal of Fear Factory at that time, and great highlights too, including the hammering "Warhammer". When I refer to songs like "The Scourge" as deathly industrial metal, I don't mean Pestilence gone industrial, but rather industrial metal with a deathly vibe. The other two are really good, but don't reach the greatness of the first two.

Also similarly to Spread the Disease, John Canady's project ended after this album, dissolving in 1999. The Dead World project is dead, but not before this great yet unorthodox way to end. And with all this talk about Spread the Disease, I have one more album from that band to get through after two more albums from industrial metal bands.....

Favorites: "Warhammer", "The Scourge"

Broken, the only Nine Inch Nails release accepted into this site besides this EP, is a pretty good industrial rock/metal EP for fans of the genre and the band. Now I'm heading to this other EP where most of those tracks are given the remix treatment...

And it's an intense process too! Those creations are recreated and twisted into darker doom. NIN founder Trent Reznor collaborated with other expert remixers such as JG Thirlwell, Butch Vig, and the two members of Coil Peter Christopherson and John Balance (RIP both). The tracks that are guitar-focused became more industrial-focused. The beats and drums are added to the front of this sinister mix while doing the powerful original compositions justice.

"Gave Up" remix is a great example since the guitar riff blasts are still around despite the industrial parts. The 9-minute remix of "Wish", the most well-known single of Broken, is given a minute-and-a-half long drum beat intro that crescendos into the dominating main riff. "Happiness in Slavery" remix has a new touch, though still not so great.

There are 3 more remixes, starting with "Throw This Away", combining "Suck" and "Last". Now why combine the worst track of that EP with a good one? Or at least that's what I feared until I gave it a listen and it comes out decent. Another remix for "Wish", "Fist F***" has samples of Timothy Leary. I actually love it better than the first remix! Unlike the second "Happiness in Slavery" remix "Screaming Slave", which has samples of Bob Flanagan's torture in the Broken film, and is far more electronic than what I like.

Though not as vicious as the Broken EP, Fixed can nonetheless impress fans of industrial remixes and Nine Inch Nails fans who are up for hearing their songs remixed. I think it would be slightly better if they remixed the awesome "Physical"....

Favorites: "Gave Up", "Wish", "Fist F***"

Just one week after In Flames released their new album Foregone, another Swedish melodeath-gone-alt-metal band Avatar released a new album. However, instead of making almost a full return to their melodeath roots, they kept their experimental groove-ish alt-metal sound going. It's slightly better than Foregone, but here there's more pleasant weirdness, and the heavy-melodic ratio is slightly more balanced...

Avatar is not as super popular as the second movie in the film franchise Avatar, yet they can tour and support bands, as active as they could during the virus. They already heading into album #9, Dance Devil Dance! Is the music fitting for their circus-like aesthetics?

Stomping right in is the opening title track with a thunderous country-like march. Though the riffing is repetitive, the song is redeemed by the solid Judas Priest-like chorus where vocalist Johannes Eckerstrom really shines. Perhaps my favorite since the title track of Hail the Apocalypse! "Chimp Mosh Pit" is much heavier. The two guitarists battle it out with their shredding towards the end. The more frantic "Valley Of Disease" has the heavier growls of Eckerstrom. The synths spice things up before the climax.

Anyone discovering Avatar for the first time will be confused by "On the Beach", especially when the style changes in the pre-chorus. There are bands like Avatar that like to switch genres in some songs. Then the relentless "Do You Feel in Control?" takes control. "Gotta Wanna Riot" is quite jarring. The switch from Soil to Soilwork to surf music will make you be like "What the f*** is this piece of sh*t?!" The more poppy "The Dirt I’m Buried in" has better catchy groove. There's fantastic soloing in the bridge. Heaviness stomps back in with "Clouds Dipped in Chrome". Eckerstrom's crazy vocal range from screaming to singing is what makes him such a unique metal vocalist.

"Hazmat Suit" can definitely get the crowd running when performed live. It would certainly make a moshing vortex that can almost turn into a black hole. Nick Cave-like soft blues takes over in "Train", riding slow and steady in the verses before a chaotic derailing in the bridge. Powerful closing track "Violence No Matter What" features vocals from Halestorm's hard rock siren of a vocalist Lzzy Hale. With her vocals, it adds epicness to this anthem that kicks a**.

Dance Devil Dance has what Avatar like to do best, all in a mix of heavy and weird. They know what people love and they add different ideas into their cauldron. Only a few tracks are floppers, but the rest make a pretty smooth album from these hard-at-work experimental groove-ish alt-metal stars....

Favorites: "Dance Devil Dance", "Chimp Mosh Pit", "Do You Feel in Control?", "The Dirt I’m Buried in", "Hazmat Suit", "Violence No Matter What"

In Flames followers wanted the band to return to their earlier melodic death metal sound, and they've finally done it in their 14th album Foregone! Part of the motivation might have been from The Halo Effect, a new band formed by former members of In Flames to revive the old-school melodeath. I was looking forward to returning to listening to In Flames after a couple-year break, especially since my brother likes one of the album's singles. However, the album is a bit disappointing...

Now don't get me wrong. There's actually some positive light in this offering. After all, this marks the band's return to melodeath form that was strong in the late 90s. The band currently led by guitarist Björn Gelotte and vocalist and Anders Fridén still have a bit of sweetness in the music, and not the good type, more like a mushy love poem. The poppy metalcore part of the recent sound is no longer fully around, and when it does appear, it's in a more interesting balance with the heaviness. It's quite strong and sensible, but again, too sweet for a melodeath album.

"The Beginning of All Things That Will End" is a two-minute folk-ish acoustic intro that's nicely sentimental. The action kicks off with the single "State of Slow Decay", which pleasantly surprised fans with heavy riffing, drumming energy, and metal soloing, bringing back the glory of the band's earlier era and At the Gates. This is straight on metal heaviness that's entirely different from their previous album I the Mask. And that's the single my brother likes from this album. Absolutely strong and promising! "Meet Your Maker" is another excellent metal track. "Bleeding Out" works out quite well in the chorus. There are two title tracks that tricked me into thinking it was two-part suite when it ain't, starting with "Foregone, Pt. 1" which is the best throwback to the Jesper Strömblad era of melodeath fury with a memorable chorus. Though I wish it was longer...

"Foregone Pt. 2", on the other hand, is far too sweet, though not as weak as their previous two albums. That sh*tty composition has nothing to do with the first title track! And look, another stinker, "Pure Light of Mind"! The next track "The Great Deceiver" is pretty great, adding true heavy strength to the melody. "In the Dark" is a big shining moment for their new rhythm guitarist Chris Broderick, formerly of Jag Panzer, Megadeth, and Nevermore, as he adds technical color to the soloing.

"A Dialogue in B Flat Minor" continues the sound of Sounds of a Playground Fading as a heavier sequel. "Cynosure" is quite bad though, I'm not sure what they were thinking there. The deeper growling vocals work well in the "End the Transmission", better than the rest of the album. Unfortunately, the clean singing sounds sh*ttier than the rest of the album there. And why is "Become One" only a bonus track? That's probably the best non-single song, with the great riffing and soloing of melodeath, along with a catchy chorus. For that amazing song to be left out in many editions is a total bummer.

A band making almost a full return to their roots after a couple decades is rare, but that happened with the new In Flames album Foregone. While some songs still show the band at their worst, there's a good amount of positive surprises. They can show how capable they are in their melodeath return, despite the overpowering mainstream....

Favorites: "State of Slow Decay", "Meet Your Maker", "Foregone, Pt. 1", "The Great Deceiver", "In the Dark", "Become One" (bonus track)

I've heard about this band Dog Fashion Disco, having listened to a couple songs from them, and even tried listening to and reviewing one of their albums but I couldn't finish due to its experimental wackiness. I've never heard their 2003 album before this review, so I felt up to giving it some listening and a review to see if the band really is worth adding to my metal arsenal, as part of the Infinite review draft...

And let me tell you, they've really done their job well in this album, Committed to a Bright Future! It shows the band's talent at a nice pace, and it has given me the motivation to continue exploring this band instead of just giving up after part of it.

"Love Song for a Witch" opens as a fast pounder, creeping in with keyboards. The guitars and drums go almost as fast as thrash! "Rapist Eyes" is good, but d*mn these lyrics are so odd, not saying that odd is bad or anything. There's also great jazzy bass. "Dr. Piranha" continues the fast speed and cool keyboards, with a circus-like vibe. Vocalist Todd Smith really nails the bridge here. "Fetus on the Beat" was re-recorded from an earlier album The Embryo's in Bloom, having cool atmosphere.

"Worm in a Dog's Heart" starts with carnival-like keyboards with some cool bass bounce. The chorus sounds as progressive as Voivod's Nothingface, while the verses are weird in a good way. "Plastic Surgeons" is quite cool, though the xylophone soloing sounds odd in some places. Still great enough to keep the album's perfection! "Pogo the Clown" was re-recorded from another earlier album Experiments in Alchemy, a jazzy track graphically describing the murders committed by John Wayne Gacy. In saying that, the track is so amazing and versatile, with great bass! "Castaway" is a song I love so much, no words can describe it.

"Nude in the Wilderness" is a great track with a progressive bridge. Mike Patton would be proud. "The Acid Memoirs" would make Frank Zappa proud. It's so diverse! Though the bizarre lyrics are a bit bad, yet still not detracting the album's perfect score. "Deja Vu" is another jazzy re-recording from Experiments in Alchemy, this time with some atmospheric saxophone, cooling down for those who like John Zorn. Now, "Magical Band of Fools"... Is that funk?!? D*mn, the bass is so catchy, and so is some more sax!

The album has a couple hidden tracks ("Scores for Porn" and a cover of the theme for the musical/film "Grease"), but they don't hit as much as the awesome main release. Committed to a Bright Future can pretty much be one of my top 10 releases in alternative/avant-garde metal. Any fan of rock or metal should look into this bright future!

Favorites: "Love Song for a Witch", "Dr. Piranha", "Worm in a Dog's Heart", "Pogo the Clown", "Castaway", "Magical Band of Fools"

I just realized another thrash band I haven't reviewed an album from yet, Testament. And reviewing this album The Formation of Damnation is a good leap from Slayer's Repentless since drummer Paul Bostaph stepped in to play drums for this Testament album at a time when Dave Lombardo (who also recently rejoined Testament) continued his time with Slayer. I also remember guitarist Alex Skolnick performing with Savatage and Trans-Siberian Orchestra.

Testament is known as one of the SECONDARY Big 4 of thrash, alongside Exodus, Overkill and Death Angel. As famous as this band is, there's some truth that needs to be known. The greater fans of thrash stay with this band's music for their debut The Legacy, and I can kind of understand why. The quality here in this album, The Formation of Damnation, varies in lukewarm ways. Some songs are brilliant, others are just uninspired. It's a bit frustrating when one half of the album is great and the other is more average. But hey, it's not as sucky as what occurred in Slayer's Repentless...

The intro "For the Glory of..." starts the album with pompous guitar energy similar to that of Repentless. "More than Meets the Eye" crashes in with headbanging guitars. It's more mid-paced compared to the faster side of thrash, but it has strong melody and a catchy chorus. Fans of the band's debut will love this! The thrash isn't too infernal and instead more mature while sounding a bit menacing. Great start! "The Evil Has Landed" has a similar sound but slightly darker, especially in the lyrics, which deal with the most catastrophic day in the US, 9/11. The title track sets aside the earlier midtempo, replacing it with fast harsh aggression. It's a brilliant highlight if you're like me and wanna spice things up with speed.

Such a shame that "Dangers of the Faithless" lose the skill the band had in that earlier part of the album. "The Persecuted Won't Forget" is an exciting thrash storm, though as it goes on, it becomes much less exciting. The better "Henchmen Ride" drives through with slight speed in the bass and drums, and what makes the song memorable is the smashing chorus. It really makes up for the two previous tracks while still not regaining their earlier skill. "Killing Season" has longer guitar soloing, but it just lacks anything memorable and comes out as pretty much aimless.

"Afterlife" is more melodic while staying in heavy aggression. While a couple of the other songs in the album attempt that mix and fail, it sounds much more original in this one. It's cool and straight with being a total face-basher. "F.E.A.R." (False Evidence Appearing Real) doesn't fall flat on its face, just driving through with a bit of gloom in the pre-chorus. Not as triumphant as the first few tracks, but a solid highlight. "Leave Me Forever" is pretty much a ridiculous stinker, especially in the floppy verses.

All in all, The Formation of Damnation has a few soulless tracks while the rest is really good. The flawless highlights are certainly worth listening to, especially for thrash fans. Yet a few poor tracks leave me ending another encore to my Ultimate Pit Test with a slight foul taste in my metal mouth....

Favorites: "More than Meets the Eye", "The Formation of Damnation", "Henchmen Ride", "Afterlife", "F.E.A.R." (False Evidence Appearing Real)

As I've said before, Breaking Benjamin is one of the first rock/metal bands I had slight interest in over a decade before this review when my brother was (and still is) listening to this band and other bands. I mentioned that their debut Saturate had a post-grunge/hard rock sound, but I think this was only based on a few tracks I still remembered. With this album now fully in my mind after thorough listening, I've realized that it's a little more than just those two genres...

This was back when the nu metal scene was still on top, and Breaking Benjamin was part of it. However, they sound heavier than the songs from nu metal bands that are played on the radio, while their choruses are still worth singing along to.

"Wish I May" starts heavy before a Linkin Park-like singalong chorus. "Medicate" is similar, but closer to a grunge vibe. "Polyamorous" is the album's first single. It shows vocalist Benjamin Burnley having his ability to sing and perform background screams. A catchy tune that I still remember throughout all these years! "Skin" is more radio-friendly, once again mixing heavy and catchy in the choruses.

Modernizing the Bush sound of post-grunge is "Natural Life". However, the best song here for me is "Next to Nothing", despite sounding softer, which deserves as much fame as those 3 singles. I should also note that two of those singles ("Medicate" and "Polyamorous") were originally in the band's 2001 self-titled EP, and another one of the songs from the EP is "Water". This one starts with an experimental intro that almost made me think this would lead to an Atheist-like track, but it leads to this band's usual sound that's like a heavier Matchbox 20. Another song from the EP, "Home" is a heavier track I still remember and enjoy, with lyrics based on the Wizard of Oz.

"Phase" is a little more stripped down while still shining in heaviness, with a bit of tribal percussion. "No Games" has more of the mainstream Lifehouse/Calling side. That's the kind of style I want when balanced with the heavier stuff. "Sugarcoat" has more of that heavy potential. "Shallow Bay" is the last song to be re-recorded from their EP and the best of the heavier songs, which I still remember today. "Forever" is a soft hidden track ballad that's OK, but kind of an afterthought.

Saturate is a pretty good start to Breaking Benjamin's active career (active despite their hiatus throughout the first half of the 2010s). They have a great amount of songs with potential, though some of them miss that mark. This is worth picking up for the highlights and playing it loud and proud....

Favorites: "Wish I May", "Polyamorous", "Next to Nothing", "Home", "Phase", "Shallow Bay"

I decided to, after listening to and reviewing Hell Awaits, jump ahead from 1985 to 2015, sort of like Marty, Jennifer, and Doc in Back to the Future Part II. So here I am reviewing their final album Repentless, which is also their only album without founding guitarist Jeff Hanneman after his untimely passing two years earlier. Also absent was their mighty drummer Dave Lombardo. Does this album work without them? Eh, not so much...

Jeff Hanneman was known for his creative thrash songwriting. He knew how to add in spooky experimentation to the band's songs, while the band's other founding guitarist Kerry King wrote the typical upbeat tracks. With King in full control of most of the songwriting in this album, you might think this would be full-on fast thrash.

You might certainly think that with the first few tracks offering a promising start, beginning with the intro "Delusions of Savior", which I think is actually a better title for this album than that of the next track. The actual title track really sums up humanity in a nutshell. Bad-a** thrash right here! "Take Control" has just what longtime fans expect from this genre, fast riffing and aggressive soloing. Then the songs after that is just low-tuned mid-tempo groove metal, unfitting for what I expect from this band.

However, one song "When the Stillness Comes" is a pleasant surprise. King tries to add in the earlier scariness, which isn't too bad. Fantastic riffing appears in the last minute. There really should've been more after that, like enough to extend the song by a couple more minutes, but no, it's just an abrupt anti-climatic ending. So sad... Fortunately, there's more speed in "Implode", which was oddly released over a year earlier. "Piano Wire", the only song in the album to be posthumously written by Hanneman, is different from the other mid-tempo tracks, but it's still stuck in the middle.

"Atrocity Vendor" is also thrashy yet uninspired. The album's true highlight for me is "You Against You", having the mighty side of thrash sounding as fresh and f***ing p*ssed they can be. "Pride in Prejudice" ends the album (and the band's discography) blandly with one more groove song, though slightly more interesting than the others.

Some songs in Repentless are quite enjoyable. Guitarist Gary Holt does some great soloing work as if he has learned from Hanneman himself. Drummer Paul Bostaph is also good, while not the same as Lombardo. King performs some of the greatest riffing in thrash. Tom Araya continues his experienced aggression in the vocals and bass. And while Repentless is not how I thought they would end it all, I recognize the earlier Hell Awaits as a classic essential enough for my potential in The Pit. So long, Slayer.....

Favorites: "Repentless", "Take Control", "Implode", "You Against You"

Two of the UK founders of industrial metal, Godflesh and Pitchshifter started their journey in 1989, the year the former released their debut and the latter was formed. It's clear that those bands are contributing to the branching out of music from the birthplace of rock/metal pioneers, England. Industrial metal was created in the late 80s, not just by Godflesh, but also American bands Ministry and Malhavoc, both of whom add some Amebix-like hardcore thrash elements. A few years later, German band Die Krupps would start their own brand of industrial metal straight from EBM. And how does Pitchshifter make their industrial metal sound?...

It's a little hard to explain. Pitchshifter entered the 90s with a more deathly industrial metal style, and as the albums went on, they branched with pieces of groove, thrash, and alternative metal, the latter especially in their final few albums. There's more of a depressive soundscape in the earlier material. The band released their debut a couple years Godflesh's debut. After that, they submitted a very good EP Submit. Then comes the dividing lines between their two eras, Desensitized!

"Lesson One" begins the album with a short droning spoken sample. Then we head to the right start with "Diable", loud and dynamic while marching through riff-patterns for strangely good atmosphere. The grand "Ephemerol" has the band's earlier sludgy sound in the intro. The spacey vibe is much more catchy than depressing. It doesn't beat the next track though... "Triad" is an impressive hymn with catchy rhythm. It kind of hints at their later dance-y material while staying in their earlier heaviness. This kind of blend really works in songs like that!

"To Die Is Gain" can be considered pure industrial metal, but the samples and vocals overlap with each other, only saying the song title. "(A Higher Form of) Killing" reveals the thrashy side of the band, though it's mixed up with what they usually have. "Lesson Two" is a similar interlude to the intro, though it's just a man saying "Listen to me. Listen to me!" The complex "Cathode" is a thrash-ish monolith of tempo variation.

Another short interlude "N/A" can be considered "Lesson Three", though it's quite random. "Gathering of Data" has hypnotic dissonance in the riffing. JS Clayden can add his usual abrasive vocals to the melody that sometimes goes quiet. More samples appear in "N.C.M.", as the riffs jump around in dynamic speed. "Routine" finishes things as a rather unrelated-to-music track. It is then followed by 23 minutes of silence, after which a hidden track appears. It's a re-recording/sequel to "Landfill" from the band's debut Industrial. It's a great highlight, I don't know why we have to wait 23 boring minutes for that cool track.

Desensitized is close to a masterpiece, one where the music and sounds fit well with the different times. The band would later evolve throughout the rest of the 90s, while staying within their industrial metal grounds. There's barely anything for me to complain about in this Pitchshifter album, which marks another great contribution to industrial metal. And there's more to find in the happiness in bleakness of the genre!

Favorites: "Ephemerol", "Triad", "(A Higher Form of) Killing", "Cathode", "Gathering of Data", "N.C.M.", "Landfill" (hidden track)

Now this is a much better improvement compared to this band's debut! The death-doom part of the sound in Collusion became much less in this album The Machine, and they started using a drum machine. Their take on death-doom in Collusion was a bit monotone at times, which didn't help with half of the amount of tracks being interludes. The Machine makes up for that sh*t by a lot, despite some obvious lyrics of social commentary. The music of mid-paced industrial metal is the real deal...

The production fits with frontman Jonathan Canady switching his vocals from growling and talking to just whispering, fitting well with the instrumentation. I like the standard guitar tone and audible bass fuzz. You can find lots of melodic riffs played in downtuned guitar. All of that make up for the somewhat lame drum machine.

First off, "Cold Hate" is perhaps the most aggressive track here. There's a Nine Inch Nails-like intro before Jonathan's vocals enter. During the chorus, the steady drum machine gets toned down for some riff aggression. A nice guitar lead comes in midway through. "Lies" is slower with a similar formula. Although instead of being aggressive, the sound is cold and dreamy. I prefer that one slightly more. "180" is a nicely bleak instrumental highlight.

"Kill" is a pretty good throwback to the earlier doom, though the Marilyn Manson-like lyrics cause some complications, "Football on the TV, beer in the hand, the extent of his rational depth. He's a god fearing man, a wife beating f***, a vacuous flag waving fool." Next up, "Blood Everywhere" has mild ambience before a movie sample appears.

The title track has Voivod-like riffing while staying slow and doom-ish as usual. One more ambient interlude, the 10-minute "Orgy of Self Mutilation" is quite busy despite just letting everything flow in dreamy space. The closing track "El Shaddi" I'm guessing is kind of a sequel to similarly titled track from Collusion. It begins with simple drumming, and is more relaxed than the other non-interlude tracks, making an atmospheric ending to the album.

I would not say The Machine is the ultimate industrial metal masterpiece, but it's really great, and much improved compared to their debut. Any fan of industrial and/or metal should get this offering. Welcome to the Machine!

Favorites: "Lies", "180", "The Machine", "El Shaddi"

Are there times when legends from two different bands collaborate with each other, but ultimately it turns out bad? Sadly, yeah. But when people first heard about Dead Kennedys' Jello Biafra and Ministry's Al Jourgensen forming their own side-project Lard, they thought "That would be awesome! What can go wrong?"

The project was formed sometime after Jello left Dead Kennedys. He was already in a few other side collaborations. Jourgensen is still in Ministry, and he has done some other side projects as well. When those two innovators join forces for a different project, asking that question, what could go wrong? Practically nothing! The Last Temptation of Reid is an underrated creative album with fast music and politically-fueled lyrics, and a step up from their EP.

Opening with funky bass, "Forkboy" has fast heavy/industrial metal/hardcore fury. A fantastic opening track and the best here, with Jello's unique vocal creativity. Thrash fans might recognize the Flotsam and Jetsam cover. There's a feeling of death and betrayal here, all in a fun listen. "Pineapple Face" is a f***ing mindblower, keeping up the speed of the first track, though there's a slow psychedelic chorus that nonsensical but genius. The crazy political lyrics are odd yet having a deep meaning. Another track that you wanna keep around until the end of time! "Mate Spawn and Die" brings back the earlier hardcore of Dead Kennedys. The lyrics are sung in spoken rhythm. It's not as memorable or energetic as the first two tracks, but it has a catchy charm within the lyrics.

"Drug Raid at 4am" is still a song, but instead of lyrics, there are some samples including the famous "This is your brain on drugs", along with Jello playing the role of a police officer inspecting a house storing drugs, yelling aggressively at the suspect as the fast instrumentation plays. Then ending on a humorous note, the officers says "Oh, sorry, wrong house." Next track "Can God Fill Teeth?" The lyrics are pretty much entirely spoken word. After some conspiracy theory accusations, the guitar and drums speed up as fast as thrash, while painful yet humorous sounds of dental torture come in. Apparently, wires leading to the brain of the patient record all that's happening the appointment. So odd and mesmerizing, yet as creative as the first two tracks! Smooth bass once again starts up "Bozo Skeleton", mid-paced with catchy vocals flowing together with heavy instrumentation. This legendary hardcore/industrial combo continues to impress me!

The most metallic track here, "Sylvestre Matuschka" is quite awesome, and why not? The sinister vocals and chords make this a fun standout worth headbanging to. Then there's a cover of Napoleon XIV's "They're Coming to Take Me Away". Jello does a fun job singing this song. The marching snare fits well with the vocal insanity. Oh, the show-stealing joy! The final song "I Am Your Clock" is somewhat interesting. It's a 15-minute disorganized guitar jam with Jello presenting a speech throughout. I enjoy many long epics, but this one sounds better as a 5-minute track, but it just keeps repeating that d*mn riff with only one or a couple breaks. Really not my thing...

Any fan of Dead Kennedys and hardcore punk and/or Ministry and industrial metal should listen to this offering. The Last Temptation of Reid shows the two most well-known members of those bands at their most creative. Lard would make one more album 7 years later than go on hiatus. Recommended for hardcore/industrial listeners anytime!

Favorites: "Forkboy", "Pineapple Face", "Can God Fill Teeth?", "Bozo Skeleton", "Sylvestre Matuschka"

There are some industrial metal bands that are better off as studio-only, whether by their own choice or by fan demand, mainly due to heavy usage of electronics and samples as opposed to metal instruments. The band performed at Holiday Star Theatre in early 1990 and recorded it for a live album... In Case You Didn't Feel Like Showing Up! The performance has actually enhanced some songs better than in the studio versions. I'll review the video edition of this album for a more complete experience...

The CD version consists of 6 songs from the albums The Land of Rape and Honey and The Mind is a Terrible Thing to Taste, 3 songs per album. They selected some of the best songs from both albums, with some of them having good improvement.

Only present in the video edition, "Breathe" has the Jourgensen-sung madness of its original album's first two tracks, this time deliberately more intense! It takes your head off and slam-dunks it back between your d*mn shoulders, caused by driving drums and vocals repeatedly telling you to "BREATHE!!! ...YOU F***ER!!" Then the song tears your head off again like a fish in the kitchen. One of the best here! The keyboard-guitar hybrid riffing rolls in "The Missing", which is mid-paced and can deliberately force your head into a different place. "Deity" is a roaring Metallica-like thrash tune as the drums and riff thunder around.

"So What" is extended from 8 minutes to a massive 11 minutes here, but it's more than an epic, it's an anthem with harmonic guitars and catchy bass as Jourgensen declares, "So what!? it's your own problem to learn to live with. Destroy us! Or make us saints!! WE DON'T CARE!!! IT'S NOT OUR FAULT THAT WE WERE BORN TOO LATE!!!!" This song of the generation's apathy will get you screaming/singing along to an anthem that's unlike any other. After an ambient intro, "Burning Inside" kicks in a propulsive beat and repetitive guitar to keep you awake. This pounding tune is helped out by the vocals. When I wrote this review after waking up this morning, this song fired me up way more than coffee! "Thieves" starts with a hyper guitar riff over a dance beat, then the verse has Al Jourgensen's distorted screams of "THIEVES AND LIARS!! MURDERERS!!! HYPOCRITES AND B****RDS!!!!" Then the chorus stops for a stretched guitar chord until one more scream of "THIEVES!!! LIARS!!!" Then the drums go full-on thrash, but they should've used real drums instead of programming in the original studio version. I'm guessing they couldn't find any drummers going that fast.

One of the best tunes displayed here is "Stigmata" with its fuzzy keyboard riffing. Al would enter the scene with a howl of maximum distortion. The riff and beat drives the song through well. This is where the CD edition ends, but in the video edition, it is followed by Jello Biafra of Dead Kennedys and Ministry side-project Lard reciting a parody of the Pledge of Allegiance. He would later be sucking his thumb and Nazi saluting during the final encore. The title track of the Land of Rape of Honey is a menacing crawler, standing out with its creepy vibe.

It's quite great hearing the songs from The Land of Rape of Honey get the heavier live treatment to suit the band's expanding metal sound. On the other hand, in the songs from The Mind is a Terrible Thing to Taste, there more weight in the groove rather than tightness. Both separate aspects combined, they foreshadow the sound in their later albums becoming more metallic. Ministry made a great performance showcasing the songs from their late 80s metal era. Not the best live album I've heard, but quite a memorable one in industrial metal....

Favorites (two per studio album): "Breathe", "Burning Inside", "Stigmata", "The Land of Rape and Honey"

I need to catch up with BTBAM again. I really do! The Great Misdirect is known as one of the greatest albums from the band besides Colors, and was a masterpiece for me when I was still listening to them. But in the past year or so, I've only listened to a couple songs from their first two albums when assembling the Revolution playlists. With this nice revisit, let's see what I still think of this album...

Between the Buried and Me can chug through progressiveness faster than a train. Colors was once a true landmark for me. It continues the transition they had through their first 3 albums. With the new lineup of bassist Dan Briggs, rhythm guitarist Dustie Waring, and drummer Blake Richardson maintaining their places, the progressive hints from their earlier albums have evolved into a new essential part of the sound in Colors. The songs are longer and they all transition to each other like a multi-part suite. The earlier heaviness kept going, mixed with some fun wacky parts. Colors was a f***ing masterpiece for me, and so was The Great Misdirect. What do I think of the latter now?

Similarly to Colors' intro, "Mirrors" begins this album as its intro that almost doubles as a short soft song. A bit of the soft wackiness is already hinted in the jazzy bridge. "Obfuscation" can fit well as a single that should've been recorded and released between Alaska and Colors. It also shows the soft-hard blend they've used since The Silent Circus. All in all, a good start to the progressive action!

The best song for me is "Disease, Injury, Madness", having a different execution the same soft-hard blend. It starts in a progressive deathcore frenzy, then switches to soft and clean, all leading up to an excellent bluesy section in the second half. A unique standout! After that, "Fossil Genera - A Feed from Cloud Mountain" is a grand hint at the band's move away from their early metalcore. The first couple minutes show vocalist Tommy Rogers impersonating Mike Patton in a circus-like metal sound, a bit like a heavier The Decemberists. Then the rest is the usual extreme progressive metal before ending with an epic rising climax.

"Desert of Song" is the album's weakest link, though it's a nice bridge before the epic storm to come. It's a 5 and a half minute semi-acoustic ballad with some vocals by lead guitarist Paul Waggoner and well-done bass. It's a good place to breathe before one final adventure you won't forget... The 18-minute epic "Swim to the Moon" is the band's longest song to date, though the length hasn't surpassed Opeth's "Black Rose Immortal" or a few of Dream Theater's epics. I enjoy these progressive epics, but nowadays, I find the song's length to be a bit f***ing draggy. The soloing section has non-stop shredding in both the guitars and keyboards for a few minutes. Impressive, but fits more as a live jam. There's also an Alaska/Colors-like breakdown. Then it ends mellow after reusing the earlier riff. The track is still an epic highlight despite the extensive length.

Despite a bit of error that I now recognize when the band make literally one of their finest hours, it's still not too big of a deal. The transitions are almost never forced, and most of the songs are set up well overall. Tommy's vocals range from explosive growls in better quality to melodic cleans that no longer sound robotic. He appears less while still around a lot, allowing the other members to shine, including Blake whose drumming is so unique and heavy in the patterns. Between the Buried and Me continue the progressive journey they've had since The Silent Circus, and while The Great Misdirect isn't as perfect as I once thought it was, it's their finest hour of coherence!

Favorites: "Disease, Injury, Madness", "Fossil Genera - A Feed from Cloud Mountain", "Swim to the Moon" (despite being a bit draggy)

Slayer is not a band you should underestimate. They've been known controversially for their lyrics and cover arts of violence and Satanism, and real-life incidents such as frontman Tom Araya literally p*ssing on Venom's Conrad "Cronos" Lant during a tour for this album. Nonetheless, I'm glad to finally get into the thrash action of this band...

Their 1983 debut Show No Mercy has been known as more of a Maiden/Priest-influenced album, albeit more satanic. Basically a more melodic and less brutal thrash sound. Haunting the Chapel has been known as the EP that hinted at their darker heavier direction. I think choosing this album to review that sits right after moving out of the classic heavy metal-influenced sound and starting their full-on thrash sound that would reach its most brutal in Reign in Blood is a wise move of mine. So let's go! HELL AWAITS.

The title track is the perfect opener for one of the evilest-sounding albums on Earth. An unsettling reversed chant of "Join us..." fades in, ending with a growl of "WELCOME BACK!!!" Faster than you can respond to that demonic greeting, you're pulled into Slayer's demented realm with slow sludgy riffing. It's not until the 3-minute mark when the second half of fast thrash begins. It's quite a killer classic, I must say. "Kill Again" greatly gets you hooked into a menacing story in the lyrics, filled with as much graphic violence as a slasher film. The speed goes faster than a speeding cheetah. And there's more malicious violence to come... "At Dawn they Sleep" sounds quite evil, not just in the slower tempo but also the lyrics of bloodthirsty vampires, growled by Tom Araya.

"Praise of Death" is perhaps the best song here for me, though not as famous as the first track. The guitar's raw power add a lot to the evil sinister themes. The perfect top-notch drumming shows what a thrash genius Dave Lombardo is, hitting the kit hard and well. More of his infernal drumming fire is unleashed in "Necrophiliac", sounding as admirable as the rest of the instrumentation.

The riffing and different tempos get more complex in the longer "Crypts of Eternity". Araya's vocals have more extensive experimentation that he really nails. His bass is more audible while not getting much of the front stage. The guitars end up sounding quite thin, detracting a bit of heaviness. It's doesn't affect the song's greatness in any way, but it's quite noticeable and worth mentioning. However, what really gets me scratching my head is the closing track "Hardening of the Arteries". It seems quite rushed when the band wants to get everything finished before the album comes full circle with a similar riff to the album's beginning. It's good, but not the best attempt at finishing an album.

For those who enjoy wicked evil thrash anthems, Hell Awaits is what you want. Slayer made an album that has never disappointed heavier metalheads. Thrash fans shall headbang to the speed, structure, and darkness that made Slayer the unique thrash band they've been known as. This is mandatory for extreme metal fans. Welcome to Hell!

Favorites: "Hell Awaits", "Kill Again", "Praise of Death", "Crypts of Eternity"

If there is something that is hard for me to admit, but I still feel the need, it is this: Until now, I couldn't really get what's appealing about one of the most famous metal bands in the world, Metallica. Their debut has made me realize the band's earlier strength! Kill 'Em All (originally titled Metal Up Your A** until their record label manager suggested changing the album title and cover art) combines the more speedy and punky elements of Motorhead, Iron Maiden, and Judas Priest into the ultimate start of thrash!

Kill 'Em All sounds as if they covered the heaviest tracks from different early heavy metal bands and increased the tempo and added more heaviness to the riffs, solos, and vocals, thereby updating the classic formula. Of course, these are all original songs, and very unique ones too.

Already putting the thrash sound in place is the fun opener "Hit the Lights". However, "The Four Horsemen" is a better standout, sounding tighter than Megadeth. Apparently, that band Megadeth has their own version called "Mechanix", for their own debut album two years later. Megadeth's founding frontman Dave Mustaine was originally the lead guitarist for Metallica before he was fired for his abusive behavior and replaced by Kirk Hammett. The band took the "Mechanix" composition Mustaine wrote and rewrote it into the 7-minute riff monster that it became. So Megadeth's version is a re-recording of the original written by Mustaine. "Motorbreath" has more of the potential for the band to kick-start thrash metal, though the phrase "thrash metal" wasn't coined until next year when the late Kerrang! journalist Malcolm Dome was describing an Anthrax song.

Another highlight is worth partying to, "Jump in the Fire", having more of a hard rock groove. The chorus is so unforgettable, you'll be singing it in the shower out loud for the neighbors to hear. The instrumental "(Anesthesia) – Pulling Teeth" has the best performance here from bassist Cliff Burton (who sadly lost his life 3 years later when, while touring for Master of Puppets, he fell from the band's bus that tipped over and crushed him. RIP). He performs impressive bass soloing for that track. "Whiplash" has more powerful riffing. The excellent verses have clear contrast with the catchy choruses. As a result, that song is quite memorable, and nothing's a waste of time.

"Phantom Lord" bursts through greatness, especially in the innovative drumming. Same with "No Remorse" which, as the title implies, is remorseless. Things get more mid-paced in "Seek & Destroy" while staying destructive. "Metal Militia" can surely bring joy to both longtime and new fans, and the bass can heard quite clearly, compared to what people keep mentioning about the band's 4th album ...And Justice for All.

With all that said, I don't think there's much I can say to criticize, except maybe the bass-driven instrumental can be more of a bonus track, no disrespect to Burton. Kill 'Em All is perhaps the first full-on thrash metal album, so listen before you judge, and...well, have fun!

Favorites: "The Four Horsemen", "Jump in the Fire", "Whiplash", "Phantom Lord", "Metal Militia"

Pleasure to Kill is known as what made Kreator one of the most popular legends of thrash. There's lots of deathly aggression that can hail this album a kick-A classic to the heavier metalheads. However, a few riffs here are a bit repetitive and don't stand out as memorable for me.

But how is this album besides the riffing issue? Very good! Drummer Ventor and Guitarist Mille have an awesome motive of each song using vocals from one of them. Ventor has a shouting style, while Mille is a thrash growler. Ventor performs some d*mn kick-A drumming with a bit of hammering technicality. Mille performs an OK blend of smooth and crunchy in his guitar, though his guitar work could've used some improvement. Rob Fioretti performs audible bass that helps the brutal rhythms stay steady.

With melodic guitar, "Choir of the Damned" is a friendly intro, the calm before the storm... Hooking you up right away in the thrash action is the great "Ripping Corpse", with a chorus of total bloodshed. "Death is Your Saviour" doesn't lighten up a bit, staying heavy and deathly all the way.

The title track is a brutal headbanging thrash classic, though it has neat melody in the chorus. "Riot of Violence" is a more mid-paced and crushing track, with catchy riffs that are quite killer. Same thing in the 7-minute epic "The Pestilence", though with different tempo changes, switching from slow and soft to fast and brutal. This makes me think of what tech-death band Pestilence were doing for their thrashy debut.

The searing speed continues in "Carrion". Then "Command of the Blade" is another favorite of mine from this album, sounding quite dynamic especially in the riff-solo bridge that would certainly remind thrash fans of Slayer. "Under the Guillotine" is quite notable, closing the album like the life of the executed by the device the song references. The skull rolls as a chorus that's quite good yet predictable rolls on with Mille's growls, making the song sound close to proto-death metal. It's quite a brutal way to end the album, but it could've been less predictable in my opinion.

All in all, Pleasure to Kill offers the kind of headbanging metalheads really need for some f***ing extreme thrash as explosive as the creation of the universe. Still a few of the riffing and chorus should've been less repetitive, and they make the album just a tad overrated. Despite that, the wicked heaviness is something that can't be lost....

Favorites: "Ripping Corpse", "Pleasure to Kill", "The Pestilence", "Command of the Blade"

As the thrash metal scene continued to grow in the mid-80s, there were other bands who were planting the seeds for other metal genres to be formed. There has been the US power/speed metal of Metal Church, the first-wave black metal of Bathory, and the proto-death metal of Possessed, all of whom are so different and can't be mistaken for one another. Another different style is the crossover between thrash and crust punk known as stenchcore. Filled with political angst, one of the founding bands of the genre (besides Amebix), Sacrilege severed the border between hardcore and thrash in a darker sound with their debut Behind the Realms of Madness!

To level up their uniqueness, the band has front-woman Lynda "Tam" Simpson doing some of the grittiest female vocals since Joan Jett, though Tam can't keep compete with other crossover thrash vocalists out there. Despite that, the vocals add to the well-executed dirty vibe of thrash. There are some songs that actually foreshadow the sound Destruction would have in Eternal Devastation next year, albeit in a more punky fashion.

"Lifeline" shows the band unleashing their wall-breaking sound that can scream both Discharge and Slayer. Next up, "Shadow from Mordor" has a more sludgy intro, with terrific soloing to add to the greatness. "At Death's Door" is a little mediocre in the riffing, and draggy even during the headbanging riffs.

The hyperspeed of "A Violation of Something Sacred" brings back the album's quality in the guitar with the hardcore of Discharge, the speed of Motorhead, and the thrash of Destruction, all combined into one. The thick riffing with driving punches in "The Closing Irony" might remind some more of Anthrax, Metallica, and Tankard, closer to metal territory than punk. One last anthem, "Out of Sight, Out of Mind" is fast with more meat in the riffing.

In the end, Behind the Realms of Madness can be considered an underrated classic. The lack of attention is mind-boggling, though it's understandable due to the UK stenchcore scene being nowhere near as prominent as the US thrash scene. Nonetheless, Amebix and Sacrilege are known as the king and queen (in terms of vocalists), respectively, of the genre. And somehow, Napalm Death would take their own crust punk roots into a more popular (and more painful for me) genre grindcore. For those looking for a band mixing the sounds of D.R.I. and Tankard, look out for Sacrilege. I'm quite amazed to find this stenchcore sound that really kicks a**!

Favorites: "Shadow from Mordor", "A Violation of Something Sacred", "Out of Sight, Out of Mind"

It was hard for me to decide which crossover thrash album to give a listening/reviewing session to see if I have what it takes in the subgenre, but ultimately I chose the second album from Corrosion of Conformity, Animosity. This band has had a similar stylistic direction to Neurosis. Both bands started off as thrashy hardcore for their first two albums in the 80s, then from their early 90s 3rd album onwards, they started taking on a sludge metal sound, though Corrosion of Conformity has a more stoner/sludge style, while Neurosis became a major force in post-sludge. Animosity is Corrosion of Conformity's own Word as Law...

Animosity is more than just a thrashy hardcore album actually. It's different from the hardcore style they had in Eye for an Eye. This band and Suicidal Tendencies are known as two bands who started adding more metallic influences to their thrashy hardcore to create a different subgenre, crossover thrash! Solos and heavier riffs are added to hardcore, though not as metallic as metalcore which was not invented yet at that time. The instrumentation shows the band refined talent as the band play like professionals. There's great flow in the rhythms and sinister harmonies to make punky metal anthems. Animosity has that insidious energy to fill this offering. So get ready for a crossover the heavier metalheads will surely never forget!

"Loss For Words" already sets the band's heavier motive. Punky thrash anthem "Mad World" attacks in an invasive battle that only the strong can beat. And clearly I'm the strong warrior! "Consumed" is also quite d*mn killer.

The more sludgy sound is hinted in the mighty "Holier", though it's still quite thrashy. "Positive Outlook" has nice thrash. With that mixed with their usual punk, it pretty much sets the idea for crossover thrash. "Prayer" has the fast thrash that hints at Slayer would have in Reign in Blood, along with the hardcore that Hatebreed would later use for their metalcore sound. "Intervention" has some static distortion to add to the sinister atmosphere.

The incredible "Kiss of Death" nicely blends raw metal with energetic hardcore. "Hungry Child" is an OK punky song, though it would be better if it was longer. The title closer creeps in sounding closer to Black Sabbath. The thick bass sounds more dense than the earlier speedy drive. Quite a foreshadowing way to end a cool thrash album!

Animosity is a swift album sealing the thrash-hardcore blend known as crossover thrash. The riffs punch through static and atmosphere to create some evil dark punky metal anthems. The aggression has made this album a classic for mostly punk fans. The metalheads wish for the sound to be more metallic. Still this is an album I would recommend to anyone looking for an earlier blend of hardcore punk and metal, worth some good listening....

Favorites: "Mad World", "Holier", "Prayer", "Kiss of Death", "Animosity"

After my horrid experience with testing out a couple cybergrind releases, I needed something to cleanse my palate, and what better way to do that than to head to the melodic opposite end of The Horde spectrum by revisiting a melodeath band I once enjoyed, Dark Tranquillity! They were still standing on top of the Gothenburg melodeath game in the 2000s, at a time when At the Gates was absent and In Flames was heading for a more alternative metal sound. When melodeath was still reigning in my metal interest, Damage Done was one of my favorite albums of the genre alongside At the Gates' Slaughter of the Soul. Dark Tranquillity's 2002 album hooks you up with more melody, thrash, and groove in the riffing, as opposed to the old-fashioned writing of the 90s. There's more detail in the devil!

The sound has had more shape in the 21st Century so far, sounding more cohesive than just technical. There's less focused on the lo-fi speed that some of the more famous extreme metal genres had in the 90s. The sound here is less extreme, becoming as melodic as heavy/power metal, which explains why I only listened to a lot of this band when my metal taste was more melodic about 7 years before this review. Still this kind of accessibility doesn't detract the extremeness and is suitable for some of the heavier fans. However, the accessibility fits better with In Flames. Dark Tranquillity is all about the deep darkness, especially in the growls of Mikael Stanne.

"Final Resistance" already kicks things off with the upbeat speed and melodic texture of the genre. There's some more melody in "Hours Passed in Exile" in the wonderous riffs, though the slight half-second break that starts the last minute isn't highly called for. Some catchy keyboards can be heard in "Monochromatic Stains", which is an anthem to growl along to. Don't be shy!

The arrangement in "Single Part of Two" is a little too much in the synths, but what's promising is the usual melodic Gothenburg sound that's meant for the album. "The Treason Wall" is more active in the drumming by Anders Jivarp. The keyboards in the verses have better searing potential. "Format C for Cortex" has more of the dark character of the album, with the growls continuing to step forward. The title track fires away with thrashy melodeath that would remind some of the band The Crown, while reminding me of my favorite album that this one has likely influenced, Trivium's In Waves. The rage is halted for an interesting melancholic keyboard/guitar outro.

"Cathode Ray Sunshine", which appears in the Brutal Legend soundtrack, has more beautiful electronic aspects and modern drumming. "The Enemy" is the lightest, most ballad-like song here, though the rough darkness surpasses that of In Flames' classic melodeath era. Another track "White Noise / Black Silence" drives through strong riffing, and I remember that making up for what's missing in Haven. The weirdly cool 4 and a half minute instrumental "Ex Nihilo" closes things smoothly.

When I was new to the melodic death metal sound, I considered Damage Done to be one of the best releases of the genre. While there are other masterpieces that surpass this one now, melodeath is still where I wanna get most of death metal, rather than the standard violence of Death and Morbid Angel. The album is deathly within the growled vocals and dark music, though the keyboards stand out as equally as the guitars despite a few bumps. Even during those few years of not listening to this album, it has kept living in my head. Perhaps it is the catchy melody and smooth atmosphere. Damage Done is a killer example of the melodic death metal sound this band has mastered!

Favorites: "Final Resistance", "Monochromatic Stains", "The Treason Wall", "Damage Done", "Cathode Ray Sunshine", "White Noise / Black Silence"

Sometimes you can compare a metal album to a PB&J sandwich. The peanut butter, which I like, is any kind of metal that focus on extreme rather than experimental. When it's smooth, the heaviness is pleasant. When it's chunky, the heaviness is very bumpy. The jelly, which I'm not a huge fan of, is the overused experimental aspects like cyber synths. This EP shows that I'm more of a "smooth peanut butter" guy than a "chunky PB&J" fellow...

The debut EP from Genghis Tron, Cloak of Love, has the chunky peanut butter of grindcore mixed with avant-grade synth-metal jelly to make a new genre sandwich known as cybergrind. It's pretty good, but not something I would return to.

"Rock Candy" has ambient synth jelly as sweet as actual rock candy, while adding the chunky grindcore peanut butter that gets in your teeth. That combination is cavity central! There's some more stellar electro-synth jelly in "Arms". The mathy chunky grindcore is mixed together with Daft Punk-like synths and Polysics-like ambient rock guitar, while the grindcore screeches still interrupt out of nowhere.

"Ride the Steambolt" has the most of the chunky grindcore cacophony while fused with the poppy jelly. Next track "Laser B***h" starts with synth-dance jelly, a bit like New Order. The sweet-as-candy jelly only lasts for a minute before the chunky grindcore mayhem continues again, as if a nightclub dance keeps turning into moshing. By then the poppy elements are more like extra oil add to the chunky PB&J. Still the heaviness remains stable, and the changes don't sound forced. Unlike in "Sing Disorder", in which everything's out or order, making a disorganized mess.

There are a few things to praise about this EP, yet it only lasts 12 minutes with different styles stirred up into a messy joke. Still a couple songs are quite interesting and make their sound quite genuine. I don't plan on taking on more of this band's releases though. One chunky PB&J sandwich is enough for me, thank you very much....

Favorites: "Arms", "Ride the Steambolt"

Let's end the main initial part of my ultimate Pit test with one more album I enjoy! The second album from Sepulcher, Panoptic Horror has quite an evil thrash metal sound that has rarely touched the genre in the present compared to the past. It's basically a revival of earlier thrash metal with blackened guitars. I personally like the rough pain in the vocals. There's interesting bass and solid drums, the latter being subtle yet shining.

The songs in the first half have pretty much the same structure with riffing transitions from slow and fast without being too overpowering. The riffing is quite memorable and, for the newer thrash fans, worth coming back for.

First off, "Corporeal Vessels" blasts straight into thrash right from the intro. This peculiar yet killer sound is as fast as you would expect in thrash, but it slows down into dark dissonance with evil riffing. After going fast then going slow throughout the song, the tempo then sits in the middle with an awesome section, which then leads into a final fast searing riff. "Towards an Earthly Rapture" has bit of a progressive structure like Opeth, though the sound stays nice and firm at their usual blackened-ish thrash.

"Corrupting the Cosmos" is slow and sludgy, but in the last couple minutes, the band go as fast and thrashy as Vektor. "Ethereal Doom" takes a break from the Opeth-like progressive structure in their thrash for just full-on...thrash.

"Abyssal Horror" is quite the mind-blower, with a memorable beat stirring up a sound similar to early Voivod that you can enjoy. "Scourge of Emptiness" is filled with furious speed/thrash metal. "Haunting the Spheres" ends the album as a prime example of the classic thrash revival, often switching from powerful fast verses to a long slow bridge. The drumming continues to be interesting with tremendous transitions. Absolutely memorable!

Panoptic Horror is worth helping out in the mission to revive classic thrash with different elements of chaotic dissonance. If you're up for Leviathan-like arrangements added to Opeth-like progressive structure injected into a thrash sound reminiscent of Vektor and early Voivod, this album has it all!

Favorites: "Corporeal Vessels", "Corrupting the Cosmos", "Abyssal Horror", "Haunting the Spheres"