Iced Earth - Plagues of Babylon Review

Iced Earth - Plagues of Babylon [Thrash Metal/Power Metal]

It's been a long while since anyone has posted on this blog, so I thought it'd be good to write a review of an album I'd anticipated for quite a while.

Unlike most of the legions of hardcore Iced Earth fans, I did not grow into the band during the Matt Barlow era - as such it is to be expected that this review will not attempt to draw too many comparisons between Barlow and current Iced Earth vocalist Stu Block.

At this juncture I must point out: despite not being an Iced Earth follower from the early days, I obviously took it upon myself to listen to the work that the band did with Barlow and Ripper; I have tremendous respect for the abilities of both singers, and can totally understand why so many people continue to pine for Barlow's return (not happening, people - get over it! hahaha). Barlow was a fantastic technical singer in his own right: good range, great power and rich tone. However, what stood out most about his singing was the quality of his delivery - it's one thing to sing a song and another to own the hell out of it. 

I have to say now: Stu Block owns the hell out of a few songs on this album. I've always thought - and Iced Earth hardcores can hate on this all they want - that Stu Block, dating from his time with Into Eternity - is a far more technically-proficient and stylistically versatile singer than either Barlow or Ripper ever were. 

Evidence of Stu's vocal chops can be found in tracks like 'Cthulhu' - where Stu busts out a piercing Rob Halford-style scream - and the surprisingly accessible piece 'If I Could See You' - where, during the clean verses, Stu channels his inner Myles Kennedy and goes all rock-ballad. A minus point here, though, is that Stu's vocals, at least the clean bits, were obviously auto-tuned, even though clearly he doesn't need the aid of software. God forbid that Iced Earth eventually trends towards the direction taken by 'rock' bands like U2.

However, not much can be said in the defence of the rest of the band in this album. Notwithstanding that Jon Schaffer and company did well showcasing their new vocalist (as well as guest stars like Hansi Kursch and Russell Allen), the riffing and song structure were pretty much standard Iced Earth fare - not that that's necessarily a bad thing, but after a couple of decades doing this you'd think the band would wish to take the chance to innovate. At times, it felt like the sporadic moments of brilliance from Stu and the blistering guitar solos from Troy Seele - who is in fine form here, by the way - were placed strategically to ensure that any attention lost during the verse and bridge segments was regained.

The album as a whole had a rather mid-tempo feel to it, replete with the usual Jon Schaffer-driven cliches (harmonised guitar breaks, E-flat tuning, and a ton of open string chugging). Objectively speaking - not one of Iced Earth's more inspired offerings. Also of note: this is also the Iced Earth debut of drummer Raphael Saini and bassist Luke Appleton, but you wouldn't know it, because there is nothing about the rhythm work to separate this album from the rest of Iced Earth's considerable body of work - not that this can be attributed directly to the two of them, though.

Overall, you can almost sense that during the songwriting phase, the band leaders decided that they would actively attempt to utilise the considerable talents of Stu Block - not a bad thing, mind - but in doing so compromise on any attempts to write new harmonic and rhythmic material. What this album offers in terms of vocal and melodic interest is largely negated by the blandness of the riffing ideas and the almost-lethargic feel of much of the songs.

★★☆☆☆ Passable - One or two good songs, a bit of flow

Written by: The Buona Vista Musician

Havok - Unnatural Selection Review

Havok - Unnatural Selection [Thrash Metal / Punk]

It's a given that thrash metal would not have existed if Slayer had not created a storm by bottling the lightning speeds of hard rock and the rebellious youth of punk together on their earlier records. Whilst the majority of the world will remain divided on whether the Metallica path or the Slayer path captures the essence of the genre better, there are a select few that have decided to go down the punk route (let's not forget that punk also gave way to d-beat and subsequently, and even more importantly, grindcore). It's therefore logical for Havok, as harbingers of the thrash metal resurgence (which I personally do not dig, but this is purely personal), to go even further back and establish themselves from their peers to embrace a more punk vibe on their latest, third offering.



However, fans of their masterpiece 'Time Is Up' may have to be more patient with this record. Where the former saw the band with rushed beats and a sense of urgent aggression, this album is a cruise on the road to 80s anarcho punk, with few heavy or aggressive moments. In fact, there's a strangely relaxed atmosphere on the album, with crooning, sung choruses (sung, not yelled), and mostly mid-temp drumming.


Very easily, the album is more or less homage to the older generations, without having to change the formula for the current generation (as opposed to Revocation's mix of thrash metal and technical death metal, or Vektor's progressive, psychedelic thrash). Songs like 'Waste Of Life' sound like they should be on a Megadeth album (and a pity, since Megadeth's latest is a comedy), whilst the speed of their previous offerings are all contained within opener 'I Am The State'. 'It Is True', on the other, shows the actual evolution of the band, with restrained riffing, allowing new bassist Michael Leon some showtime, though he seems content with staying behind Reece Scruggs' and David Sanchez's guitars. What is interesting to note, is the way the chorus is executed, with tempos slowing rather than intensifying. Strangely enough, this works to it's advantage in helping the band sound fresh and (gasp!) mature.


The sad thing however, is that the energy dies by the time the band hits the half-time mark. Not that there are no interesting moments, but the album starts to rest on these moments rather than the songs themselves, which doesn't run well with the strong songs in the beginning. 'Worse Than War' has an interesting opening riff that is barely used through the tired trudge of the verses. The bridge also doesn't deviate further from the actual riff and the tempo is barely changed. Ditto for 'Chasing The Edge', that flirts with pinch harmonics on it's intro, a surprisingly fresh feature on thrash metal, but the experimentation stops there. It barely peaks with a syncopated bridge, but nothing else is done to save the song. 'Living Nightmare' doesn't bring anything new, neither does it feel energetic.


The last two track, however, are interesting. There is the Black Sabbath cover 'Children Of The Grave', which is a surprisingly executed reimagination of the 70s classic. David Sanchez's vocals are also semi-decent, he is definitely not a master of singing but his lips pay homage to their influences and he is at least tolerable. On the other hand, the title track is a sudden return to the almost-there speed Havok captured on 'Time Is Up'. It is not the greatest song but compared to the middle tracks, it does remind you of the band that seemed like the clearest winner in the competition for thrash revival.


The album, in a nutshell, confirms my thoughts on Havok, that the band's talent rests on drummer Pete Webber. Not that the other members suck, no, they are excellent riff-writers and know their place in their music, but where the rest are content with putting meat on the bones, Webber is the force of the band. He plays with signature, conviction, speed and decent experimentation. His death metal fills and his pounding sense of urgency is what made me return to 'Time Is Up' so frequently. Where there was a mastery of dynamics between verses and chorus, here seems like a tired attempt at the more political message of thrash metal. My personal opinion? This should have  been an EP with less songs. It's definitely a grower though, and it sounds a lot better than when I first heard it a month ago.

★★★☆☆ Average - Half of album is listenable

The Neighbourhood - I Love You Review

The Neighbourhood - I Love You [Indie Pop]

Quite widely penned for it's immaturity and it's poorly written lyrics (the latter of which I whole-heartedly agree with), The Neighbourhood's EP and, subsequently, this debut album have created quite a storm on Internet on visual mediums like Tumblr. I myself only came to discovering the band after my friend linked me the lead single on Youtube; 'Female Robbery'.


It's easy to see why the lead single clearly misdirects your anticipation for the album, because the broody, atmospheric lull of the single isn't at all reciprocated in the rest of the album. In fact, the single seems like a carefully planned marketting ploy in the wake of the colossal impact of Lana Del Ray's signature style of slow, glacial songs with seemingly 'deep' subject matter. I mean no disrespect- no wait, that's a lie, but the annoyingly narcissistic nature of today's emotional songs will piss you off after you've been through much more colossal albums than this. That said, shallowness doesn't really matter in the music, though it paints the picture of the artiste and indicates how you're expected to appreciate it. Here, The Neighbourhood melds influences from other genres, particularly indie rock and rap, in what results in an ironically pop album, that is exciting on the surface because of the relatively fresh approach in sound that masks the atypical pop song structures on I Love You.

The lead single, however, is dazzling in it's use of 'screams' (either guitar effects or a highly distorted human scream) as atmosphere, repeating them even, and that is a highlight in the album. However, like the rest of the strengths on the album, it's shortlived. There are numerous instances when the band uses alternative sounds or instruments for the melody, such as on 'Sweater Weather'. However,the album tosses up the strengths of their earlier EPs with the modern radio sound, with crooned lyrics of angst to appeal to the adolescents and post-hip hop rhythms for a wider audience, though the mismatch of slick, groovy beats highly contradict the thick, sharp atmospheres borrowed from the post-rock arena (now conveniently just labelled 'indie' by society).

As for the lyrics, I leave that to the listener. Lyrics are subjective to the listener, since I am not going to make you any more mature by convincing you these are poorly written lyrics.

★★☆☆☆ Passable - One or two good songs, a bit of flow

Wormed - Exodromos Review

Wormed - Exodromos [Technical Death Metal]

Get ready for superior musicianship.


Within the first minute of the opening track 'Nucleon', the music undergoes 10 time signature changes. And not simple ones too. The first album in almost a decade by the Spanish death metallers, Exodromos is fast, dazzlingly technical (which is saying something in 2013), but importantly, atmospheric. The combination of doom and drone atmospherics fill in what little gaps there are between the blastbeats, the are numerous but short guitar solos (if you dig that shit), the drums are fast (though not eschewing the usual over-processed click sound of today), and bass is barely audible, though sufficient, in my opinion.

The vocalist uses pig squeal as his main medium.



While the usual theatrics are done to death, what makes this album outstanding is it's rapid flow. It's far from schizophrenic, it feels like an extreme case of ADHD, and the songs are short and sweet without sacrificing flavour, and in this case, its a cold, bleak atmosphere. Like their peers in Decrepit Birth, Wormed manage to capture the visual aspect of a dystopic, futuristic sound with an adherence to sci-fi melodies, or emulating machines through their guitar solos (very unlike the staccato riffing of Fear Factory). Unlike Decrepit Birth, however, the drummer here chooses from a broader plethora of drum fills, though this is sparse in the song-writing in relation to the blastbeats; the drummer changes his timings with astounding relevance whilst keeping faith to the speed and brutality commanded by the songs. Then again, the time signatures are the constant emphasis here. The guitarists shred to create fills rather than to cement a solo section in the songs, this is done by keeping the highs in the mix relatively buried so that the shredding does not stand out. Also, the solos are well weaved into the riffs, making the song structures tighter and adding to the rapidity of the flow of the album. The production has been absolute and effective here, but I wished more bands used a more organic drum sound.

In terms to negative points on the album, because of the chaotic nature of the music, it's hard to appreciate if you were already accustomed to the guitar theatrics of the genre (thanks to Decrepit Birth). As the album works better as the sum of its parts rather than in its individual songs, it works against the accessibility of the album, though as I said, it has a highly interchangeable sound. Either of which may put of listeners. Also, the bleakness of the album, as opposed to the lively robustness of last year's Cryptopsy, might be a deciding factor as to whether you will dig this album.

All in all, I think this is definitely one of the better albums of the year of disappointing metal releases (so far). It doesn't do anything to change the formula but it works toward perfecting the existing material. With the musicians holding back on their ridiculously technical prowess and concentrating on the concept of the album, this may polarize fans of the death metal genre.

★★★★☆

Megadeth - Super Collider Review

Megadeth - Super Collider [Hard Rock]

The new Megadeth album is not even a thrash metal release.


The entire album chugs at mid-tempo with Dave Mustaine trying his best to sound like David Draiman (who also stars in the song 'Dance In The Rain' and 'Forget to Remember'), despite age and vocal limitations. They aren't memorable riffs, as the emphasis on the album is radio-friendly rock. I will talk about good things first: the album has possibly the best production Megadeth has had in their career. The bass and drums are very pronounced and the highs and mids of the guitars sound clear and clean.


The problem now, is that the vocals are pushed all the way to the front. Dave Mustaine's vocals. Conversely, David Draiman sounds like his voice was recorded by an iPhone on 'Dance In The Rain', what the intention was I will never know. 'Don't Turn Your Back...' is possibly the fastest song on this album, for fans who like the thrash metal element of Megadeth.


This album is a commercial album. The songs are so tame and lack anger that it is hilarious, painful to listen to. Chris Broderick's solos are forgettable finger exercises that execute speed but completely lack emotion. He drops a solo on every song and the worst part is that they don't even fit in with the new friendly rock sound (think 80s hard rock with the motivational lyrics and nonsense solos). One of the songs even feature a goddamn banjo ('The Blackest Crow'). Dave Mustaine is on his worst ego trip on this album, singing alongside Bon Jovi riffs. Shawn Drover is having the time of his life playing slow, simple rhythms. The album's only saving grace, is David Ellefson's bass. It loud and groovy, but who can honestly shut out the rest of the music and isolate the bass?

This album is mediocre at best. Megadeth's reformation peaked at Endgame, which wasn't even a complete success with half the album as filler. The album is too slow, and that itself isn't the problem, but Megadeth can't pull off slow, melodic songs. Definitely not with Dave Mustaine's vocals. If you like this album, you're better off just listening to 90s arena rock, because that's certainly better than this rubbish. Just listen to the Thin Lizzy cover, 'Cold Sweat'. It's the only good song on the album (and it wasn't written by them)

★☆☆☆☆

Deafheaven - Sunbather Review

Deafheaven - Sunbather [Blackgaze] [Black Metal + Shoegaze]

The blackgaze genre was started by French one-man band Alcest. Since his debut, Souvenirs d'un Autre Monde, many acts have tried to pin down the genre, with the raw, primal emotion of black metal and the psychedelic, ultrasweet melodies of shoegaze. Deafheaven's debut, Roads To Judah, in 2011, wasn't groundbreaking. It was just four songs long and showcased dynamics and fusion ideas already demonstrated by Alcest, but with an added punk vibe that didn't come across as convincing across a mere four songs.




Two years later, we are presented with Sunbather, an album that completely obliterates the debut album with far superior songs (seven songs now) and a more convincing approach to the music. Its timing could also be only too welcome, coming in the wake of the absolute downer, Les Voyages De L'Âme, Alcest's overly self-indulgent album last year that signalled the end of the blackgaze movement. This album is rife with blastbeats, blood-curdling screams, and a fantastic sense of melody. The punk elements are more pronounced than ever, and the huge contrast of the wretched vocals against a gorgeous, beautiful shoegaze music is surprisingly emotive and thrilling.

The album's opening songs, 'Dreamhouse' and the aptly titled ambient instrumental that follows, 'Irresistible' are worth the weight of the album alone. The former has a fantastic chord progression that is at once bittersweet, an ambiguous combination of various emotions that made me fall in love with the genre. The song is also well-written in that it commands your attention even though its a verse-chorus that's repeated twice over the span of eleven minutes. The tempo is pleasant enough for a casual listen but George Clarke's vocals are intense and violent. This may upset fans who were initiated by Neige's soulful clean singing in Alcest, but this gives Deafheaven a very important sonic dynamic and identity. Some of you may find the music too pretty to even have vocals, but this is a subjective issue.

The album incorporates a lot of sounds from various genres whilst retaining the core sound of its predecessor. The title track, for instance, features post-rock atmosphere in its chorus and this eases the tension created by numerous blastbeats weaved into the song. This seamless pacing between dreamy warm chords and monstrously fast, heavy sections is a feat, the two forms of music stand side by side without contradicting each other. Elsewhere, 'Vertigo' starts off with a slow, post-metal guitar solo that relies on space and introversion before effectively bursting into a black metal frenzy. The transition was unpredictable and the song is one of the definite highlights of the album.

New drummer Daniel Tracy is a very strong addition to the group's sound. His blastbeats are ferocious, but his contribution to the shoegaze sections by guitarist Kerry McCoy and bassist Derek Prine are lucid and sensible, especially on 'Vertigo' and the title track. The band works with fantastic synergy, and this adds to the sense of passion that is abundant on the album. The closing ambiance of 'Windows' and the the warmth of 'The Pecan Tree' also form a sense of fulfillment by closing the circle that began the album with dark tones to a happy, euphoric end, or at least some juxtaposition of emotions.

All in all, I have no complains for Sunbather at all. It is an essential listen, it is a severely needed release after the decline of blackgaze, and it is dripping with passion. The musicians themselves are soaking in their music, unlike the commercial albums that have been spreading like a plague this year. With such a rich sound and approach, Deafheaven may not be your cup of tea, but it's damn well one of the best releases this year with respect to its genre.

★★★★★ Excellent - Undisputed classic for critical listening

Immolation - Kingdom Of Conspiracy Review

Immolation - Kingdom Of Conspiracy [Death Metal]

Since 1991's debut Dawn Of Possession, the death metal veterans have been putting out nothing but consistently respectable material and this ninth album is no different.



There isn't much I can't break down on the album because that is how lean and gimmick-free it is; no keyboards, no acoustics, no mind-blowing vocal shifts; just plain death metal. It does, however, have a very different approach to the genre that most practitioners have forgotten about; song-writing. There are very few blastbeats on the album, despite Steve Shalaty providing some fantastic footwork here. It never sounds predictable, and works wonders even when bound by an overprocessed drum sound (what the intention of such a mix is, I wouldn't know). Steve Shalaty's drumming is engaging and stands out particularly in 'Keep The Silence'. Robert Vigna takes up the title of riff lord, with his signature atonal riffs taking up centrestage yet again. The production for his guitars are exceptionally well-produced, overlaying subtle riffs over in your face riffs accentuated perfectly by the drums, the result is a multi-faceted sound at any point in the album. His style of using guitars rather than synthesizers and keyboards for atmosphere also lends the album a more convincing legitimacy. The result is a cold, mechanical sound that sounds brutal in its pursuit of clarity rather than the dirty underground swirl of a lo-fi mix most bands are using.

Songs-wise, the album doesn't depart much from Majesty And Decay at all, which is by no means a problem at all. In fact, this album is logically the Part 2 of the former, with more muscle and less fat. True, this makes for a dull listen when compared to many other bands pushing the boundaries, but Immolation weaves in enough tempo changes (and they happen on  the dot here, without losing sense of musical direction) into the songs to keep every album a bit refreshing without compromising style. The mechanical nature of the production contrasts with the completely free form song structures here, giving the music some for of inhuman liveliness, in the form of building uneasy tension and dissipating them with aptly placed guitar solos that are frenetic and wild.

As for the negatives, the album's main strength is also its possible weakness; as the album relies mostly and tempo changes and rhythms rather than melodies, this is sure to be a major turn off for casual listeners, even if they are self-confessed death metal fans. Also, because of the album's nature, it demands listening at proper situations, at night, or maybe during cold weather. As with black metal, the album seems dull and meaningless when listened to in broad daylight.

Also, I may confess that I still prefer Majesty And Decay over this. The songs here are too concentrated and dense for casual listening, whilst Majesty And Decay made ample use of space and drone to ease tension between the off-kilter songs. As with Portal's offering earlier this year, Kingdom Of Conspiracy is too intense to the point that the album is an overkill. It has to be listened at sparing intervals.

But maybe that was the point of these death metal veterans.

★★★★☆

Kylesa - Ultraviolet Review

Kylesa - Ultraviolet [Sludge]

Kylesa are one of the fast-improving bands of the last decade, achieving mainstream success on 2009's Static Tensions, and following it up with the critics' darling, Spiral Shadow in 2010. I would advise you to add these albums to your library if you're a fan of Baroness and Mastodon. The band has a signature sound in a female vocalist and, more importantly, two drummers. Yes, two. Sometimes they play the same beat for a heavy raw sound, more recently they play two different beats simultaneously, a move that would have been scoffed at by detractors of Slipknot's three drummer approach, but the sound works well here.


The main draw on Ultraviolet is a more psychedelic sound as opposed to the raw, heavy sound of their past. Guitars still sound abysmally heavy (this album is definitely heavier than Spiral Shadow). Also, guitarist/vocalist Laura Pleasants has a greater role to play on this album, more than any other Kylesa album. Her voice shifts from primal screams to melodic singing, and this creates a fantastic dynamic with fellow guitarist/vocalist Phillip Cope's screams, you see this most obviously in 'We're Taking This', the album's midpiece.

The album is also a lot darker than the pop-sensibility of Spiral Shadows, they are less hooks and sing-along choruses. The shift in priorities over atmosphere may derail the newer fans, but I find the ominous guitar swashes and effects interesting enough, especially on 'Unspoken' and 'Long Gone'. This is obviously an album that works well as a full package rather than a collection of stand-alone songs, because the atmospherics permeate most of the songs on the record, with only a couple of songs, namely 'What Does It Take' and 'Vulture's Landing' holding enough pop hooks and melodies for quick listening.


This isn't a fantastic record, good but not enough to be an important album for critical listening. Spiral Shadow was definitely the crowning achievement of the band, this album feels more like an experiment, no doubt one with it's perks, but not as memorable as Spiral Shadow. The departure from pop tunes has sorta backfired on the album, at least in my case. Some songs feel like filler even in such a short and concise album (about less than forty minutes). The drums also fail to create the memorable poly rhythmic rhythms the band is famous for, choosing heaviness over progression. It is a good album, but not a good introduction to the band.

★★★☆☆ Average - Half of album is listenable

Ghost B.C - Infestissumam Review

Ghost B.C - Infestissumam [Occult Rock / Pop]

The follow up to 2010's massive debut, Opus Eponymous, is a bit disappointing.




The group's debut was an eclectic mix of early black metal (think Mercyful Fate) and Sabbath-style doom / occult riffs. Still anonymous, lead singer Papa Emeritus II definitely sounds like a younger Kind Diamond and the infectious grooves of Opus haven't gone stale in three years since inception. This of course got the band to superstardom with a lot of press from Decibel and recently because their initial album art for this album was deemed too offensive by retailers, hence postponing album sales. Whatever the gimmick, nothing matters more than the actual music, which isn't fully delivered here.


If you ever were a fan of the band, you may still like this album. Or you may not. Having listened to this album for the last month or so, I am still divided on my opinion of the album. The sound is definitely more polished and crisp, perhaps so much so that the music sounds like a pop album. Not that that is a bad thing, but the result is an album that lacks the balls of the debut. Add to that the fact that the songs are more vague and complex as opposed to short and straightforward catchy. There are still a few hooks here: the brilliant 'Year Zero' and excellent closer 'Monstrance Clock' are clearly inspired by the band's catalogue.

On the other hand, you have long unwanted songs like 'Ghuleh - Zombie Queen', a song that starts off with an almost alternative rock crooning and piano before suddenly venturing into some 70s rock segment with elements of swing and organs (with a few seconds of doom rock in an insufficient scream). The idea is not dull but the execution comes out as clumsily handled, and the lack of hooks make the some seem longer than it actually is. 'Body And Blood' doesn't come off as memorable either, with its nonchalant verses and glacial pace. Lead single 'Secular Haze' isn't as instantly accessible as, say, 'Ritual', but it does show the band's shift to pop ambition. 'Per Aspera Ad Inferi' sounds too similar to 'Con Clavi Con Dio' off opus, without being as catchy or arresting, especially because it is the heaviest song on Infestissumam but doesn't juggle the contrasting styles well, abruptly shifting from heavy doom rock riffing to a synthesizer-driven chorus.

Much like Baroness' Yellow & Green, the band has definitely focused on their strength; pop accessibility, whilst forsaking the hybrid factor that propelled them to fame. It's by no means a bad album, but one that doesn't do the band justice. Do check this out if you like 70s inspired occult rock though. Or if you didn;t like this check out Jess And The Ancient Ones or Orchid.

★★★☆☆ Average - Half of album is listenable

Device - Device Review

Device - Device [Exactly-the-same-as-Disturbed 'Industrial']

As to why David Draiman would put Disturbed on hiatus to create a band and make an album that sounds exactly like Disturbed simply confuses me.

Right off the bat; the sound is so slow and chugging it's infuriating. David Draiman tries to do soulful melodic singing, but it's dry and flat. Sadly, he screams less on this album, not a surprise since he has stopped screaming since Disturbed's The Sickness.  The guitar sound is weak from Geno Lenardo, its boring and uninpsired as hell.

There are special guests on record, but most sound forced and failed. Serj Tankian, one of my favourite childhood singers, sounds COMPLETELY out of place on 'Out Of Line' and the bass from Terry Butler doesn't do anything to save the song. The only time Serj Tankian sounds interesting is when he does background vocals towards the end of the song (and on a side-note, Serj you still sound good). Lzzy Hale guests on the Ozzy Osbourne cover 'Close My Eyes' and ironically enough, Draiman sounds better than her. Tom Morello's guitar solo on 'Opinion' is all but a few seconds long but worth the entire song itself. Weirdly enough, the best vocal contributions here were Glen Hughes (though like Serj, the contrast between his high voice and the music didn't really work out) and more surprisingly, M. Shadows on 'Haze'. His baritone goes perfectly hand in hand with the low pitched guitar and he provides one of the few interesting moments on this album.

Other than that? None of the songs are actually memorable. David Draiman's song-writing is unbelievably blunt and pathetic, with almost every chorus having the same uplifting tune as that from Disturbed's older song 'Stricken'. I have always thought of him as a monotonous singer (because, past his gorgeous tone, his vocal range is a joke) and this album does nothing to change my opinion. Talk about a major flop. Also, David Draiman assumes that whatever he does on this album is industrial.




This is industrial. Device is not. To quote Metalsucks.net:




Rating: ☆☆☆☆☆

Fall Out Boy - Save Rock And Roll Review

Fall Out Boy - Save Rock And Roll [It's actually blatant pop]

It's hard to take an album seriously when its title is itself a self-parody. That itself reflects on how the band wants you to take their album - as fun, light entertainment. Nevermind that the main hook off 'Death Valley' is a direct derivative from 'Moves Like Jagger', or that Courtney Love's spoken rant that kick starts 'Rat A Tat' sounds more like a joke than some attempt at punk (or that the actual song is completely irrelevant to her), or Elton John's pathetic four line part on the last song (and thank the gods when I realised it was ending). This album isn't so much music than it is a bunch of Top 40 songs made by band members who decided to end their hiatus once the flow in banks starts to slow to a drip.


Also, if you feel the album is unrelentingly long, you are definitely not imagining it- all the hooks are generic and the songwriting is simple. A lot of the choruses are peppered with "Whooaaa"s to try and accentuate the hook. The London Symphonic Orchestra sounds pitifully weak even on my largest atmospheric cans, and it is used as a backdrop on the first and last song, a cheesy way to bookend the album. The art is also soooo deeeppppp only true FOB fans can understand (apparently means the monk is the band's old days and the modern boy is the band's new direction). Big Sean's contribution to 'The Mighty Fall' is as useless as a white crayon.

There isn't a lot I can complain about the album. The production is plastic, it's lacking identity and it's a sellout. There isn't much to expect from commercial artistes anyway. It's only saving grace is Patrick Stump's tremendously improved vocals. I think it warrants a no star, but since it was more bearable than the Paramore album, I will award it one star.

Rating: ★☆☆☆☆

Paramore - Paramore Review

Paramore - Paramore [I-am-so-indie pop]

How the mighty have fallen indeed.

I will confess immediately that I have never experienced the appeal that many have succumbed to when listening to this band, but back then, I assumed it was just a matter of taste. Now, about a 100 reviews into this blog (yeah!!11!), I believe it cannot be a matter of taste. Whilst the band's previous outputs were relatively harmless, with what pop-rock sensibility and hooks they had, the latest self-titled is a serious test of patience and tolerance. At least they had a punk-ish vibe that suggested youthfulness back then, the latest output is plastic and soul-less.

That is hideous make-up. The soul-less look would foreshadow the lack of music in this album.

The lead single 'Now' is a serious cause for concern and showed the band aggressively pushing towards a mainstream pop sound, and the chorus 'Now-ah-ah-ah-ah-ah-ah-ahhhh' with its overproduced vocals and autotune is a far cry from the once more respected female vocalists in the pop-rock realm (yeah there are tons more better female vocalist than her). The departure of Josh and Zac Farro and their seemingly dubious message about Paramore now being 'a manufactured product of a major-label' is instantly felt in the album.

Songs move in and out in vapid fashion, with no song actually taking up your memory after it has finished. Hooks are mostly absent. The influence of multi-instrumentalist Ilan Rubin on drums may have given the band the dangerous confidence to play styles which they cannot exactly pin down. Yes it is a mixed bag, but a bunch of good songs played earnestly is always a lot better than a plethora of styles which are not within your grasp, as Heyley William demonstrates on this album, with either underwhelming dull vocals or over the top autotune on songs like the lead single, the gospel breakdown of 'Ain't It Fun' (and its cringeworthy lyrics "Don’t go cryin’ to yo’ mama, ‘cuz yo’ on yo’ own in the real world"), the sleep-inducing, aptly titled 'Daydreaming'... in fact nearly every song is a disastrous Katy Perry imitation.

Add to this boredom the inclusion of three segues literally called 'Interlude...'. Why do you need three interludes for a pop rock album? All three have hints of gospel with Hayley spewing forth unmemorable lyrics over a barely audible banjo, cheesy as hell, with the worst being the last, titled 'I'm Not Angry Anymore', and its lyrics are literally just that for almost a minute. Why would a commercial band attempt anything this stupid? Interludes work extremely well when well written and integrated- listen to Korn's 1999 album Issues, it is rife with eerie psychotic rhythms and transitory vocals and really bridge the songs as well as create a tense atmosphere.

I do not know what is the downfall of this band, whether they are trying the 'experimental' route since that is the 'cool' thing to do nowadays, or if its the departure of the Farro brothers, or whatever it is. Commercial critics are lavishing praise upon this album blindly, seeing that most of them are musically illiterate and have little exposure to underground music anyways. If you loved Paramore before, be wary, this album may make you reconsider your feelings for the band. If you were never a fan, congratulations! Here is another reason to stay away from this band.

Rating: ☆☆☆☆☆

Lost Society - Fast Loud Death Review

Lost Society - Fast Loud Death [Thrash Metal]

This album has had my jar dropping and head throbbing so many times. This album, isn't necessarily a classic, but is one of the strongest thrash albums to come out in recent times.

It's hard to assess this album until setting the scope of thrash metal first; lots and lots of guitar riffs, tasteful riffs, not chugging or space-filling riffs like those of djent descend, fast groovy drums and a lot of energy. This has been the basis of thrash metal in the last three decades, and the reason for stagnation in the genre once bands failed to push beyond the boundaries. Some recent bands did; the progressive flair in Vektor, or the overtechnical display of guitar playing by Revocation. Some bands didn't innovate but had the essence of early thrash, like Havok. And for those who immensely enjoyed Havok, Lost Society is going to be your new drug.

Band leader Samy Elbanna sounds like the bastard child of Tom Araya and Dave Mustaine, channeling the rough barks of the former and the melodic rasps of the latter with exceptional ease, and he and Arttu Lesonen are no slouches on the guitar either; there is not a single song with bad riffs on this album. Yes. No filler. Ossi Paananen is not exceptionally spectacular on drums but he has the right thrash essence (save for Dave Lombardo, there has never been a need for creative, progressive drummers in thrash metal anyway). Mirko Lehtinen is surprisingly audible on the bass, and his basslines are groovy and precise, and he does counter the riffs at numerous instances, none of which I may single out because there is quite honestly no bad song on the album.

Add to that the essence of thrash, the music has a lot of youthfulness to it. A bit of immaturity and a whole lot of energy, this isn't music to think over or ponder upon. This instant headbanging material, one not exactly new but so heartfelt and rich, it's the most infectious album to come out in a while.

Rating: ★★★★☆

The Strokes - Comedown Machine Review

The Strokes - Comedown Machine [Rock]

I will make it clear that I never enjoyed anything by the Strokes post "Is This It", because none sounded as refreshing as their debut. Before even listening to this album, one can deduce that this band is torn apart by multiple musical directions without actually settling on one, kinda echoing Radiohead in their past (and some may argue, in their future).


Many people talk about this album taking on multiple genres but I will be the first to say that is rubbish. Yes, the songs do sound very different (and that is a triumph for artistes in an age of stale song-writing) from one another, but at the end they manage to be, well... Strokes songs; catchy, simple and fun.


Julian Casablanca's vocals are polarising. I do not think they are fantastic at all on this album, he seems to be using the higher register more extensively than ever, but like it or not, his vocals are surprisingly well integrated into the songs, with him almost accentuating the melodies found in the music (case in point: 'Call It Fate, Call It Karma'). Instrumentally the album is a lot better than a lot of the indie artistes out there today, Albert and Nick are guitarists with substance and show their skill subtle ways rather than damage the songs.

When all this has been said, its pretty obvious that the band's main interest here is song-writing, and I would say it is so-so; enjoyable, melodic, but it will not pass the test of time. The melodies are safe, as evidenced in the all too familiar tones in 'One Way Trigger' which blatantly echo A-Ha's 'Take On Me', and the directions of the band see more like conquering new territory rather than creating them; the laidback chill factor of 'Welcome To Japan' (a song I may actually better understand now that I have been there), the synthpop on the retrospective title track, the danceability of 'Partners In Crime' and the closing track, which is my favourite song on the album, a song so strong it puts the rest of the album in a new light.

All in all, nothing groundbreaking, but surprisingly tasteful songs, which may make me reconsider my feelings for The Strokes.

Rating: ★★★★☆

Shining - One One One Review

Shining - One One One [Jazz / Groove Metal]


I was first introduced to Shining in their groundbreaking album 'Blackjazz', which fused industrial metal and experimental jazz in the most shocking manner; guitarist/vocalist/saxophonist Jørgen Munkeby is responsible for the saxophone solos on Ihsahn's past two albums and his musical direction is more vicious than ever. I was curious as to what their next album would sound like after listening to their back catalog and seeing how far they have evolved from a straight jazz band since the days of 'Where The Ragged People Go'. It seems rightly so that the band has gone further to the metal sound they have developed, with a lot more tricks and surprises thrown in.

While 'Blackjazz' was fragmented in a sense because the jazz moments were seemingly 'forced' into the metal songs, 'One One One' seems to be a perfect example of what can be properly described as jazz metal. The lengthy jazz compositions have been replaced by outstandingly catchy songs that are short and precise, but deceivingly so because repeated listens show that the songs are dense (the drumming is simply amazing on the album). The album's lead single 'The One Inside' has an infectious groove so accessible it is impossible to believe that this is extreme metal, yet Shining choose sexy, futuristic sounding music over cliche blastbeats and shredding.

The album continues with a lot of groove and momentum, with only a few weak songs here ('My Dying Drive' and 'Off The Hook'). Every other song is interesting in its own right and kept up with a lot of manic energy, a lot of which can be attributed to Jørgen Munkeby and also drummer Torstein Lofthus, who completely shares the limelight in the sound. His beats are never standard rhythms and he is more or less the least metal instrumentalist on the album, whilst the rest of the band is more or less 80% industrial metal now. His free-form drumming is a highlight on every song.


The only problem with the album is ironically its only strength; the decision to go full throttle into short, energetic songs mean that the magic of long, ominous instrumentals in their past albums are not present here, and that leaves the album rather incomplete as opposed to focus. This moreover, is a problem if you have heard their previous material. If you haven't, though, then be prepared for a sexy metal treat.

Rating: ★★★★☆

The Meads Of Asphodel - Sonderkommando Review

The Meads Of Asphodel - Sonderkommando [Experimental Black Metal]

The Meads' previous album, 'The Murder Of Jesus The Jew' is a five star masterpiece in my books. Their willingness to experiment is the core foundation of their eclectic sound; quirky, frenzied, but for some weird reason, hypermelodic. That is why I would award it five stars; their various styles not only work seamlessly well, the execution is mature, their groundwork is solid but mostly, their music is memorable, not pretentious. Despite the blastbeats, the scorching riffs and the polarizing vocals, which actually showcase the lyrics, the band has always sounded FUN, not heavy, not groovy, not technical. And that alone is mastery of song writing.

How do they pull it off here? Sonderkommando is the name given to the Jew unit who had to cremate their own dead after the Nazis butchered them. They made a living selling off the deceased's jewellery but lived a tortured life as double agents and usually fled to safer countries lest they were likewise killed. The album is performed from their point of view and tackles the subject of Auschwitz pretty well. Band leader Metatron apparently went there himself and recorded the narrations there.

The album begins with the title track, opening first with a speech from Hitler, which gives way to a Pink Floyd moment of tranquil vocals and some pretty nice keyboards that instantly create a theatrical mood, which preps the listener for a rather long listen (the album is tediously detailed), and then the metal starts with the line "This is fucking death", and things get pretty impressive from here. The main melody of the song is used sparingly between angular riffs, that make it sound more melodic and also makes its appearance more welcomed and more precise. That is not to to say the song is replete with melody, but there is not a single dull moment and the constant switch between melodic and heavy makes the execution sound more natural rather than separate the song into two distinct segues, and that makes for a consistent song throughout, and I found this rather refreshing because too many bands today divide their songs into two distinct parts instead of weaving the cleans and screams so well into one another, as does the intended 'pulse' here demonstrate. This is some magic that made the band a cult following years ago, and rather than read, it should be experienced by the listener himself.

'Wishing Well Of Bones' is so melodic and groovy it put a smile on my face, a first from months of listening. It's repetitive, but the melody demands constant presence as opposed to the previous song, and the guitarists do a fantastic job of derivative riffs of the main melody (a very jazz technique). The chorus is hard to pull out from your memory and the song is thankfully short so that the melody doesn't overstay its welcome. 'Aktion T4' is a more black metal song, with a rather similar chord progression to 'Wishing Well...' but it works as a counter melody to the former and possibly explores the darker side to the cremation process. The screams here are quite unexpected and actually work well to give this moderately melodic song some morbid twist. 'Silent Ghosts Of Babi Yar' is a more serious song with minor ghost melodies and a more anthemic chorus (the guitars take on a psychedelic atmosphere). The real draw comes in the two part 'Children Of The Sunwheel Banner', the first of which contains another Hitler speech sample... over an electronic beat?! Weird, funky and perhaps sarcastic way to portray the dictator's speech, which makes the second part all the more dark and disturbing. Delayed guitar notes paint a rather bleak picture before the song bursts forth with much anger that was, up to this point, absent from the album. Expletives are clearly audible and the song rages at a steady midtempo, with a few fast solos thrown here and there. A lot of narrative here, and a rather beautiful Gregorian chant moment and some melodic riffing and a drum solo while the title is repeated sorrowfully, but more importantly, this gives way to the a fantastic keyboard solo that echoes the same funk beat on Part One. The transition is shockingly well integrated and maintains the mood of the song without diluting its sadness.

 The problem is that the album starts to get weak from this point. 'Lamenting Weaver Of Horror' is a theatrical segue that is almost cringeworthy and the acoustic tones toward the end hardly make up for the cheesiness of the dialogue between captor and child. 'Sins Of The Pharaohs' is the last burst of fire on this album, with the memorable chorus "Set... My people.. Free!". 'Hourglass Of Ash' hardly manages to make a convincing point with a saxophone badly integrated into a considerably angry song, not to mention the overuse of the chorus melody. I am not sure what to make of the lounge section in the bridge. It is musically strange, and yet it's hard to decide if it was a horrible choice or a brilliant one, rather, by this point the shock factor of the album is lost and the music alienates rather than captivate you. 'The Mussulmans Wander Through The Infernal Whirling Fires Amongst Silent Shadows to be Fed Into the Thirsting Jaws of a Godless Death Machine to Cough Up Their Souls to the Nazi Moloch Who Sits Within a Ring of Smoking Infant Skulls' (WHAT KINDA TITLE IS THAT) features the same command-response that has been in effect since 'Wishing Well Of Bones' and has a harmonica. Yeap you read that right, a harmonica and choir vocals. It is decent but the song keeps ricocheting  to so many different elements that they seem particularly badly drawn together, even if there are some memorable punk riffs in the middle of the song. The album ends off slightly stronger, with an acoustic closer 'Send My Love To Maher-Shalal-Hash-Baz', although as with most of the songs at the second half, it reaches nowhere in particular.

In the end, I am at a dilemma for this album. It had the potential to be disgustingly bad but the first half of the album was, I daresay even enjoyable. However, the second half of the album is nowhere close to the former in terms of memorable songs, bar the lyrical content. The band has definitely worked hard into the background for the album, but how legit is a British trolling band in empathizing for Jews who were killed in Germany? This may be a cause for concern for some listeners, and upon this view the album is horribly complacent with the theatrics and segues, with the earlier mentioned cheesy dialogues. Also, the impact of the album's length is also another demerit when listening to the album. As such, I award the album:

★★★☆☆ 

Bassekou Kouyaté & Ngoni ba - Jama Ko Review

Bassekou Kouyaté & Ngoni ba - Jama Ko [African World/Afro-Latin/Jazz]

                                      

Jama Ko is the third studio album from Malian musician Bassekou Kouyaté and his band Ngoni ba.

I hadn't heard much in the way of African music prior to listening to this album, which I suspect allowed me to review this collection with an open mind free from stereotypes and expectations (a frame of mind which I should, admittedly, try to use more when reviewing more familiar genres like metal).

This album starts off with its title track: a smooth, groovy piece of music.



The beats and vocal lines are distinctly African, but the Ngoni solos by Kouyaté at times take on an almost blues-rock feel (think Gary Moore and Derek Trucks). Kouyaté, additionally, makes use of a variety of effects like distortion and wah; his solos and interludes, as a result, have a quasi-contemporary touch; this isn't something I'm terribly pleased about, but maybe I should give him the benefit of the doubt since it could be the case that the Ngoni's own raw sound cannot sufficiently cut through the mix or even that Kouyaté himself wanted it to be this way.

The album, overall, stays fairly true to genre; having said that, there are certain songs that have a slight Latin-influenced flavour to them ("Madou" and "Sinaly" being two of such). These two tracks stand out for their more accessible ("catchy", if you will) grooves and up-tempo feel. The string work by Kouyaté on "Sinaly" in particular is speedy and technical without being overbearing or show-offy; the vocal melodies are memorable - anybody with a pulse who listens to this stuff will end up involuntarily tapping their feet or knuckle-drumming or something like that.

This album is a pleasure to listen to - Kouyaté's obvious musical talent shines through in his playing and composition. The chorus singers sound rich and full, and the various guest vocalists add gloss and colour to the tracks. However, it disappoints in the sense that it seems to straddle the divide between traditional/ethnic and contemporary without taking on a definitive identity. Nevertheless, this album contains enough musical value and interest factor to keep me listening.

Rating: ★★★★☆

Atoms For Peace - AMOK Review

Atoms For Peace - AMOK [Electronica / Indie]

It's hard to ignore this album with two juggernaut artistes on it, namely Thom Yorke of Radiohead and Flea of Red Hot Chilli Peppers. I will be the first to admit that I am a Radiohead fanboy, especially in the wake of their last two beautiful albums, that could easily be in my best of lists for albums any time. I am going to try and review this impartially.


Thom Yorke's presence is huge here though, and his electronica washes completely dominate any other analogue music here even if he was expecting a harmonious marriage. Not that experimentation is a problem, but Radiohead's prime was in guitar-centric anthems on OK Computer, and Yorke has been a supporting guitarist himself. Does his electronica sound convincing? Yes and no.

On the plus side, there is 'Default'. A fantastic track with an angry, futuristic electronic beat that juxtaposes superbly well with Yorke's famous nasal croons, and Yorke effectively uses the synth here because no instrument could reciprocate the beat of the song here. This is forward thinking music that does not neglect the songcraft of the 90s, and could easily be one of the best non-metal songs of the year.

Another thing that strikes me here is how energetic and colourful the album is, as compared to Yorke's earlier career. The percussionists are really good in bringing out complex, yet palatable rhythms, and the album has a lot of syncopated polyrhythms, a rarity in popular music though the DNA has had its straints on Radiohead's The King Of Limbs. This are all, again, pitted against Yorke's sleepy vocals (you have got to admire his abstinence from vocal effects though out the album) and they create a dense sonic sound although this pretty much the norm on electronic music.

The problem however, is when both sides fail to gel well with each other. Flea's bass is pretty much in your face, even more obvious with the deliberate absence of guitar texture, and when he brings in the funky rhythms, Yorke is still in sleep mode. The music, even in its uplifting tempos and complexity, sound flat. Thom Yorke should have allowed his voice to be more dynamic, because the clash works on some songs ('Defualt', 'Dropped', 'Judge, Jury & Executioner', 'Reverse Running' and the title track), but overall, it sounds overused, bland and well, disappointing. I may dig this album, but as far as professionality goes? This is below the standard of the Radiohead we come to love. Decent, not too good.

★★★☆☆ 

Suffocation - Pinnacle Of Bedlam Review

Suffocation - Pinnacle Of Bedlam [Technical Death Metal]

People are coming up with heaps of praise for  this album, the fourth since Suffocation's so-called winning streak after their 6 year long hiatus. While I can see why this is a jizz-inducing effort for long time fans of the band, I can't see new-comers approaching the band with this latest album. Quite simply, everything that's on record has been heard before and after the initial exhilaration (the album is quite brutal), the songs just cease to interest you at all.





Now compare this to other technical death metal albums in recent years; Cryptopsy and Sophicide churned out pretty impressive albums last year, and my personal favourite, Spawn of Possession's Incurso was quite groundbreaking, in that not only were they technically proficient, they were using guitars to induce very impressive sounds, stuff like trying to imitate a snake charmer's flute and transcribing symphonic melodies. On the other hand, Pinnacle Of Bedlam eschews all this for a down-to-earth technical shredfest. The guitars are heavy, guaranteed, but song writing has been compromised for an exhibition of speed and in the long run, this works against the album.

In fact, the only curveball here is an acoustic intro to 'Sullen Days', but the song is badly written as the introduction has a pretty choppy transition to the main song, which turns out to be a mid-tempo death metal track that should act as respite from an otherwise uptempo album, but the result as an aimless song with annoyingly repetitive guitar riffs that do nothing to hold you interest (where is the goddamn groove?). The solos try to have a slow, melodic approach as a way to juxtapose against the chugging riffs, which every other band does anyway. Newcomer Dave Culross simply blast beats and blast beats and, well...

The vocals are pretty much the same stuff you come to expect, eh? One thing has to be handed to this album though; the production is pretty decent, considering that it has the modern, clean approach to metal but still manages to sound heavy, though the drums could do with less reverb and the guitars could be played with a bit more bass. I will admit to finding this album not bad on initial listen, but there is not much else after that and now I find myself hitting the skip button more often.

★★☆☆☆

Stratovarius - Nemesis Review

Stratovarius - Nemesis [Power Metal]



It's February, and finally I've gotten around to writing a proper full-length review on an album.

Anyhow, it is pretty much accepted among fans of Scandinavian/power metal that Stratovarius are, if anything, predictable - you know what you'll get from them each and every release, which isn't necessarily a bad thing nowadays, what with bands and artistes overextending their capabilities and consequently producing rubbish tracks/albums.

Well, listeners are in for a bit of a curveball.

'Nemesis', which is set to be officially released later in February, has many of the typical Stratovarius elements but, surprisingly, doesn't play too much too stereotype. If anything, tracks like 'Unbreakable' and 'Halcyon Days' have a decidedly Japanese-anime-rock feel to them. Some people will like it and some won't - my actual reaction to it was pleasant surprise with a dash of 'WTF?'.

I mean, just have a listen to 'Unbreakable' (the album's second track and first single).

The keyboards that lead into the intro riff, the intro riff itself (enmeshed with some key work), the pace and tone of the vocal delivery and the way the verse introduces the chorus - all of them scream 'DIGIMONNNN'. If you're reading this as a criticism or a pot shot, don't. I love Digimon. I haven't even gotten to the best part - this song is a friggin' love song. In all seriousness, Kotipelto's lyrical and vocal delivery don't match his best efforts - but then again, who says he's even trying to do so? The track is fun, catchy and a remarkably easy listen, even for people who aren't into metal. Jens Johansson proves his genius on here once again - if there is a metal keyboardist out there who combines technical skill, musical feel and cross-genre versatility better than this man, find me him. Johansson's accents and fillers add a delightful, breezy touch to this song.




Here we have 'Nemesis', the album's title track, which is more typically Stratovarius. The riffing and drumming are up-tempo and energetic, and the chorus is catchy and anthemic. If 'Unbreakable' is for the new listener, 'Nemesis' is for the longtime fan. The keyboard and guitar sequence starting at 2:47 is a particular delight.

The album, overall, isn't groundbreaking or avant-garde by any means. However, as far as entertainment value goes, this album is more than worth a listen. Stratovarius must be commended for putting together such a fun collection of tracks while not compromising on their musicianship and production (a separate note on the production: the guitars are a treat. They absolutely slice through the mix, yet aren't overpowering or jarring. Bravo).★★★★☆ Good - Strong flow, immediately grabs you

Express Metal Reviews (03/02/13)

Hate - Solarflesh [Blackened Death Metal]

For those of you who are fans of Behemoth, this should be a valuable listen. Also from Poland, Solarflesh sees Hate doing what they've been doing for quite some time already; blastbeats, Middle-Eastern flavours, throaty growls and European riffing. It strikes me more like a much watered down Behemoth, because Hate incorporates doom metal influences into the mix, but the resulting sound, and songs, overall, are BLAND. The direction is singular and not even the individual members' musical chops can save the album. I actually had large expectations for this after hearing the intro, because the progression, though uncannily similar to Behemoth's 'Rome C.E', was brilliant. After that nothing really sticks out. Maybe just me? 2/5




Eclipse Prophecy - Days Of Judgement [Power Metal]

A surprisingly delightful debut with a rubbish mix. Too much emphasis on guitar make the drums sound flat and the keyboards straight out of a 90s computer game, though this does not explain why I quite enjoy the overall album, a testament to the band's songwriting prowess. The vocals are surprisingly bad for a genre that prides itself in semi-operatic vocalists. As with all power metal, there is cheesiness in both lyrical themes and overall presentation, but the guitar work is simply superb. This is in the vein of Dragonforce, though the technical skill is not close yet. Not an outstanding album, but the band definitely has potential. 2.5/5



Hatebreed - The Divinity Of Purpose [Metalcore]


This actually put a smile on my face. The band has been blessed with an exceptional vocalist; Jamey Jasta is audible, clear, harsh and full of conviction. His vocal delivery adds an anthemic touch to all the songs, because quite frankly the songwriting here is pretty much... standard. The mix is a little subdued as compared to recent hardcore / metalcore albums, but this again is overcome by Jasta's powerful delivery. But then again, with lyrical themes like this, there is no other alternative for the band. That's just fine, this isn't an album for long journeys or introspective nights, this is something to listen to for that extra pump when working out. Nice. 3/5



Abyssal - Novit Enim Dominus Qui Sunt Eius [Dissonance]

Getting a lot of Blut Aus Nord vibes from this album, especially from The Odinist era, but the songs fail to sustain interest. This in part isn't a genre plague, as Portal has released a similar album with fantastic execution. The problem here maybe in songwriting, songs tend to drone on and on without any sense of impending urgency like that in Vexovoid. The dissonant riffs are interesting but overused, and nothing distinguishable emerges from the cesspool of muddy downtuned riffs. The drums are way too far back in the mix to cement any concrete rhythms in the album and the vocals tend to bore. 2/5



Portal - Vexovoid [Intense / Dissonance / Death / Doom / Scary]

Bloody impressive album, one that soars past all of Portal's past endeavors, a huge relief since I have been trying to get into this band on Krallice guitarist Colin Marston's recommendation of their album 'Outre'. The album style may be an acquired taste but the mix and execution has so much power; the vocals have an inhuman vibe to them, not pained or emotional, almost like another entity but not as alien as Invocation's Dagon. The drums have phenomenal speed dynamics, blasting and slowing to a gradual mid-paced groove beat and accelerating like a pulse, and a really organic pulse it beats to; the songs seem to have a breathing rhythm and it adds to the eerie feel of the album. The guitars warrant a polarizing reception, but I love the murkiness and swirling effect of the riffs, with the mix favouring ghost riffs and non-centred guitar licks thrown of tangent or launched from nowhere. The bass is overwhelming and surprisingly, it works. At merely seven songs, there is hardly any room for filler, but the final two tracks 'Orbmorphia' and 'Oblotten' are sonic exhibitions to the widely misused term 'crushing'. A definite highlight. 4.5/5



Centurian - Contra Rationem [Death Metal]

First time listening to this old time band and the verdict is: above average. This album is good but still meh, partly because everything you'd expect from death metal is here. The mix is a pleasant surprise because while emphasising the focussed urgency on the album (I'd have to admit that the rate at which the album progresses from riff to riff is relatively rapid) it does not compromise heaviness, though the drums could do with a lot more limelight. Nevertheless, no single song stands out despite a rather enjoyable listen as a whole. Good, but not enough. 3.5/5



Nightfall - Cassiopeia [Melodic Death Metal]


As with most of the records, this album has potential but doesn't quite make the cut. But quite uniquely, Nightfall never seem to run out of fantastic melodies, and for the most part, this is the consistent strength of the album. Guitars don't seem to stick out in general, and is it my headphones? Because the drums sound seems to suck here too. The solos, however, seem quite listener friendly, with an almost classic rock vibe to them ('Oberon & Titania'). The closest comparison I have to this band is Amon Amarth, with a little more keyboard flair, and whether that appeals to you is subjective. Again, a pretty 'safe' record with nothing new or exciting. 3/5



Bullet For My Valentine - Temper Temper [Metalcore]

What has been heard cannot be unheard. Disgusting numetal vocals (who the hell sings to hardcore?) trying very hard to imitate Chester Bennington. The songs struggle to channel anger, which is the scope of the lyrical themes and that is a joke. The drums have nothing special, the guitars are minimal and they aren't very creative, playing the same nonsense again and again. Bass seems to be nonexistent and the vocals, as mentioned, are hideous. The irritating template of verse - chorus -verse - chorus gets to me so you kinda already know what the end will be like. Fail. 0.5/5



Andy Winter - Incomprehensible [Progressive]

Admittedly never heard of this guy but the list of featured artistes sure ring a bell; John Haughm of Agalloch, Dan Swanö, Ihsahn's wife Heidi S. Tveitan and Paul Kuhr, so this gives a very Devin Townsend-ish vibe at first glance alone (and Townsend's bassist Mike Young also performs here). Add to that dream cast Hellhammer's barely distinguishable ambient jazz drums (okay this one was a huge surprise). Overall, this is hardly metal, this is more of an ambient project, and though I will honestly admit I am not in the mood for this, some songs truly stand out. Dan Swanö absolutely steals the show on 'Somewhere Else To Disappear'. The conflicting guitars, bass and keyboards on 'Through The Eyes Of A Surrealist' and Agnete M. Kirkevaag's vocals on the chorus of 'Reversed Psychological Patterns' is spinechilling. The heavier 'The Transversal Conjecture' has death metal vocals by Paul Kuhr and he does a great job with the vocals too. A pretty unpredictable release, and a welcome breath of fresh air. I like. 4/5



Semantic Saturation - Solipsistic [Progressive Instrumental]

Having a new-found respect for Derek Sherinian after watching him perform live with Portnoy at TAB, a progressive release with him on keys is more than welcome. Musically there is a lot going on since this is instrumental, and the absence of a vocalist leaves nothing more to be desired because the songs are well written for each member to fill in the void without a vocalist.Shant Hagopian is a surprisingly strong guitarist, this being the first time I am hearing him and his Armenian-drenched riffs and solos. Virgil Donati's drums mark a dominant presence in the mix, never overdoing it or never leaving the soundscape. Ric Fierabracci's bass isn't mind-blowing or anything but sufficient. This isn't the best instrumental album I have ever heard, and if Tosin Abasi released another Animals As Leaders album this year as planned, then this is definitely not the best instrumental album of this year, but it surely sets the standards high for the others. Imagine old-school Dream Theatre without vocals (I hate James LaBrie and his whiney vocals), and you have a nice picture of what to expect here. Andy Kuntz provides vocals for the last track, but it seems to fit. 4.5/5