Baroness - Blue Record (2009)

Baroness left their mark in the music industry in 2009 with their latest album, entitled "Blue Record." This album will, in fact, crawl through your mind and play on for days. The progressive sludge metal band from Savannah, Georgia have really put some thought into the melodies and structure in this album. They've managed to mix strange, eerie, and reckless tones into there heavy guitars and harsh lyrics. This album has got it all!

The first track slowly fades in with dramatic guitar melodies that float on top of each other with interesting effects. After the short introduction comes chugging guitars and pounding drums in "The Sweetest Curse." There are some amazingly harsh vocals that you are greeted with immediately. The violent cymbals surround them with shattering crashes and powerful kicks. Layered in the middle of the song is some intense guitar riffs that shift from chord to chord in a psychedelic movement. "Jake Leg" follows with explosive drumming and more dominating vocals. The guitars fly from left to right with hell raising riffs and reckless distortion. The melodies are upbeat and wild as complicated drum fills keep the instruments tight. A lot goes on in this one so make sure you pay close attention.

"Steel That Sleeps The Eye" is an acoustic track with lots of soothing vocals layered together in beautiful harmonizing tones. The lyrics are deep and you should definitely get familiar with them. The song does include some distorted guitars toward the end which build up the following track, entitled "Swollen And Halo." The kicks and snares will have you rocking your head to the beat from beginning to end. You'll notice the drums getting more and more detailed with the snare and cymbal patterns as you fall deeper into the song. The guitars really communicate with high and low melodies constantly through the song. Meanwhile the bass hovers heavily in the background. This is a real power track that keeps the album running smoothly.

Later you'll run across a beast track, entitled "A Horse Called Golgotha." The drums are absolutely mind blowing as you are hit with complicated fill after complicated fill. The guitars are relentless as well as the patterns constantly change and keep you at the edge of your seat. Towards the end of the song you will collide with a vicious guitar solo that destroys the scales violently. The drumming keeps up with heavy cymbals and thunderous snares while catchy chords conclude the track. "O'er Hell And Hide" teases you with its soft and beautiful guitar intro. As it lures you in you eventually get slammed with a wave of melodic guitars that soar over the heavy drum rolls. You'll hear unclear clips of eerie talking throughout the song as the electrifying guitar continue to draw you closer and closer to the music. This is a very strange yet incredible track that you definitely need to check out.

As you fall towards the end of the album you find an interesting little tune called "The Gnashing." It's got relaxing guitars in the first minute of the song, as the drum kick and snare slowly join in. The guitars produce a very upbeat melody that gets faster and faster throughout the song. You are eventually met with rough vocals for a short period of time as the guitars are going crazy in the background with some pretty awesome riffs. Cymbals later fill the air as the track comes to an end.

"Blue Record" shows a very interesting angle of progressive sludge metal. You'll be left wanting to replay the album from the beginning as you will find it hard to pick a specific favorite track. If you happen to pick up the deluxe edition of the album you will also get a couple of live tracks from their performance at the Roadburn Festival. Definitely check these out as well. And as for Baroness, they are still very young in their career and I am definitely looking forward to which direction the go next.

8.5/10

Official Site - http://www.baronessmusic.com/
Myspace - http://www.myspace.com/yourbaroness

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Promises Lie - Distance (2011)

As you all know, techno and metal just do not mix. However, the band Promises Lie try to mix them anyway. They list themselves as a progressive metal band from Russia, but I don't think progressive is the word. Honestly, I don't know what I would categorize them in. They have released their new album, entitled "Distance." It's got some interesting parts that are melodic and heavy yet the album is also very electronic.

The intro sounds like the beginning of a DJ Tiesto album with futuristic sounds and repetitive synthesizers. This builds up the second track, entitled "Thorns." With exploding drums and blaring guitar riffs you'll be bobbing your head immediately. The verses are clean with semi decent vocals. The refrain has got some good double bass pedal parts that really get the track pumped with energy. There is also a lot of different types of stringed synths and piano riffs that consume the background giving that outer space feel to the music. This follows with random screaming that, unfortunately, really takes away from the song. Besides this everything else isn't that bad. The structure is great and the recording sounds good. This is definitely one of the better songs on the album.

It starts to go down hill from here. "Freak" is the next track and it starts with a corny synth melody that sounds like they got from an old Tetris game. This automatically makes it hard to take the track seriously. They try to add some heavy elements like distorted guitar riffs and more screaming, but when the refrain kicks in, that annoying synth starts up again as well. On top of this, the vocalist seems like he's having a hard time hitting some notes as you'll hear a lot of flat lyrics. This is followed by "Nothing Nowhere." you would think Owl City was featured in this one when you hear the intro. Futuristic synths and soft clean vocals are drenched in reverb and delay effects. And of course they manage to include the weak screams with distorted riffs in the background. At this point of the album you'll notice that the vocalist went from singing to whining. But don't worry, they try to save things with a short "solo" using three or four notes over and over again. I know at this point you're asking yourself, "Will this song ever end?" and the great news is YES it does... but not before one last whiny chorus. Feel free to hit the "skip" button.

Now I'm sure by now you're wondering why you're still listening to this album. Well this is one track that is definitely worth hearing. "Backyard Desert" is the name of it. It's a one minute and 20 second instrumental with angelic piano riffs and beautiful soothing strings in the background. It's not metal, but it does lean more towards the calm classical sound. I think Promises Lie would be a lot more successful if they stuck to this kind of music. Seriously, you're going to find yourself listening to this short track more times than the 10 tracks on the album. So make sure you check this song out before you delete the album off your hard drive.

"Distance" is just a roller coaster ride that starts at a decent height and has a really steep drop. Promises Lie have proven that techno and metal are just not meant to be. It's time they start working on their solos and distorted riffs, and leave Tiesto and Owl City out of it!

2.5/10

Myspace - http://www.myspace.com/promisesliemusic

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The Podcast: Episode 17 (Our first single...)

Murmaider and Hell22 spend lots of time digesting new bands for you to hear. Hell22 has been taken for a ride by Morito Ergo Sum and Svartsot. Murmaider thinks you should give Jon Schaffer's side project, Sons Of Liberty, a shot. But hey, some guy asked us "When is the last time you loved an album, start to finish?" Well, the answer is simple. All the fucking time! Kinda makes you wonder what kind of music that guy is listening to. Oh wait, we know exactly what he listens to. And that means a discussion between the business of hip-hop vs. the business of metal.

Part 1 - http://www.mediafire.com/?1jmauj92czwmu55

Part 2 - http://www.mediafire.com/?64lby1hrb4ee9c0

Let us know what you think of our zany brand of metal rambling!

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Blizzard At Sea: The Interview

John, Steve and Jesse from Iowa City sludge titan Blizzard At Sea took the time to sit down and answer some questions for us in the latest Sorrow Eternal Interview. Check out the review, and hear what the band has to say about "Invariance," the Iowa metal scene, and so much more.

Part 1 - http://www.mediafire.com/?edabli90l6vc337

Part 2 - http://www.mediafire.com/?nf75fgxa04hfm66

Download the untouched audio here.

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Paradise Lost - In Requiem (2007)

Back in 2007, gothic doom metal band Paradise Lost released the album "In Requiem." This was their eleventh studio album and by far one of their best. The vocals are a little heavier while orchestrated strings and pianos leave a more soothing tone to the album. The guitars have some great melodies and are combined with some punchy bass lines.

"Ashes And Debris" starts out with eerie strings that get broken up quickly by heavily distorted guitar riffs as the vocals follow. Clean aggressive lyrics fill the air as the drums pound away in the background. The refrain has got deafening chords that are surrounded by shattering cymbals and detailed drum fills. Uplifting orchestrated strings take over as a light piano melody floats behind them. This creates that dark yet beautiful feel to the song.

Dark female vocals enter at the beginning of "The Enemy" carrying soothing melodies layered with blaring guitar riffs. The verse kicks in with dark vocals and rapid guitar chugging. The haunting female vocals jump in again after each verse only this time they are accompanied by explosive double bass pedals. You are later met with a pulverizing breakdown that will knock you on your ass immediately. Definitely make sure you check this song out.

"Requiem" starts with eerie synths and demonic guitar melodies. The drumming behind this is remarkable. The fills are booming with bass and complicated fills. The verse takes over with scratchy distorted guitar riffs that chug away while lead singer, Nick Holmes, delivers some harsh clean vocals. The chorus is full of catchy lyrics and melodies which will of course, be stuck in your head after the first time hearing it. This is followed by hypnotizing guitar riffs and rapid kick and snare action. This will leave you bobbing your head for sure.

"Unreachable" is an awesome track that leans a little more towards the gothic genre as the beginning gives off a Lacuna Coil feel. The vocals in the verses are not as harsh as some of the earlier song on the album. Guitars chug away as soothing piano notes carry on through the background. The chorus is extremely catchy and will have you bob your head to the drums. The drum rolls in between are very impressive. There is also an electrifying guitar solo that will blow you away. "Prelude To Descent" follows this with similar elements. Its got slow heavy drum fills and thunderous guitar melodies. The vocals change up from soft to harsh half way through the song as another monstrous solo flies through the middle of the track. The refrain is another catchy one as melodic guitars back up the clean vocals. These are definitely two track you don't want to miss.

Paradise Lost is one of those bands that just keep getting better and better with every album. "In Requiem" has definitely shown that they have taking their music to the next level. The song structure was well written and the lyrics were incredible. Make sure you take some time and listen to the dark and beautiful masterpiece.

8.5/10

Official Site - http://www.paradiselost.co.uk/
Myspace - http://www.myspace.com/paradiselostuk

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Sons Of Liberty - Brush-Fires Of The Mind (2010)

Iced Earth's Jon Schaffer has been working very hard on his solo project, called Sons Of Liberty. He's released the first full length album, entitled "Brush-Fires Of The Mind," and has got a lot to say. The album is all about the corruption of world leaders and governments and how we need to stand together to save our freedom. The lyrics are deep, the guitars are heavy, and the drum fills are incredible!

The opening track, "Jekyll Island," runs a little over seven minutes long and is full of overwhelming guitar riffs that will will rattle your brain from start to finish. It starts with mellow notes and soft drums while words echo in a whispering tone. Harsh guitar riffs enter with fast snares and booming kicks. The lyrics in the refrain scream from left to right as Schaffer smashes both high and low notes. There is a short speech in the middle of the song with a crowd of people cheering in the background. Schaffer is really trying to push his political views on this one. The guitars continue to beat you down with catchy patterns and melodic riffs. This runs right into "Don't Tread On Me," which starts with rapid guitar chugging as cymbals crash everywhere. The verses are filled with aggression and emotion. The mix between catchy riffs and solid lyrics will have you singing along. This is definitely the time to start pumping your fists in the air. A vicious solo follows between refrains giving an extra burst of energy towards the end. Get ready to the repeat button a few times.

"Our Dying Republic" starts out with mellow tones as soothing strings accompany simple bass lines and light drumming. The verses are clear with deep meaningful lyrics. Definitely make sure you look them up. The chorus contains some chanting lyrics that will get stuck in your head. The melody is very catchy. Also a little solo follows after each refrain hitting rapid notes but with a calm feel to them. Overall, the song is very relaxing yet filled with passion. Things fall more towards the Iced Earth sound in "Indentured Servitude." The beginning has a 40 second intro of a recorded speech that immediately jumps into head bobbing guitar riffs and drums. The verses are awesome with aggressive vocals. However, the song is broken up in between with more old recorded speeches from past presidents and other world leaders. As interesting as it is to hear what is said, is kind of takes way from the music. So definitely listen to this a few times so you can catch everything.

"Tree of Liberty" and "Feeling Helpless?" are both very strong tracks to the album however they sort of blend together and sound identical. The verses are solid and the refrains contain chanting lyrics with catchy melodies. It's good music but it could have probably been combined into one track. "We The people (We Surround Them)" is the final track on the album and the guitars and drums really explode in this one. There is so much energy in the music along with thunderous vocals. Also check out the lyrics. The message is very motivating.

Schaffer really goes out of his way to spread his message and delivers it well with heavy guitar riffs and punchy bass lines. "Brush-Fires Of The Mind" has got some impressive structure and interesting lyrics. If you love Iced Earth and you're wondering what Schaffer has to say about the government, then this is definitely the album for you!

8/10

Official Site - http://www.sons-of-liberty.net/
Myspace - http://www.myspace.com/meettheshackles

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Andrew W.K. - I Get Wet (2002)

 

Metal isn't all Satan worship and depression. There needs to be a lighter side, one with a fun twist. Enter the king of party metal, Andrew W.K. One part musician, one part television host, and ten part enigma, he made a huge belly flopping splash on the music scene with this, his debut album. And whether you are a frat boy, sorority girl, high school dropout, or just a metal head with a sense of humor, "I Get Wet" will give you something to smile about.

The first track is an announcement, and invitation to join in. The simple but effective "It's Time To Party" is a minute and a half of straight ahead punk metal, with Andrew W.K.'s raspy vocals convincing you to follow him into "Party Hard." The first single, and biggest song of his career, this one is fun from start to finish. The sound is huge, with multiple layers of guitar, bass, drums and piano keys. Lyrically, there are no surprises. You work hard, and so when the time is right, you must party hard. This will be the one to start your night. The surprisingly poignant "Girls Own Love" follows, with those signature vocals taking harmony to new places. It has all of the appeal of an 80's piano rock classic, but with a harder edge. This is like a sonic mullet; business in the front, party in the back.

You might feel you have fallen into a Nintendo game in the opening moments of "Ready To Die." But a strong kick drum beat leads the way, a constant thumping to urge piano and guitars forward. While the riff may sound familiar (the same basic structure is in nearly every song on the album), it never ceases to start a pit. "Take It Off" plays like an anthemic masterpiece, with the band creating a massive wall of distortion and melody, all at the same time. What can be said about "I Love NYC"? This is a true confession, in the catchiest form possible. And with  a simple lyrical hook, you will be singing along in no time. "I love New York City, Oh Yeah, New York City!"

Leave it to the master of partying to write an upbeat love song. On "She Is Beautiful," there is a short but sweet message, without becoming a sappy tribute track. A short guitar riff becomes a fountain of harmonies and melodies, built on the stability of that hammering drum. Even sharing the piece with Kelly Osbourne on his Ozzfest stint couldn't diminish the enjoyment. Possibly the heaviest track on the album, "Party Til You Puke" urges you to.... well, party until you puke. High speed and high energy are the name of the game. I challenge anyone to keep their fists out of the air on this one.

The final third of the album is exactly what you would want or expect from man in the dirty white t-shirt and jeans. Of course, a song called "Fun Night" isn't mysterious, nor does it have to be. Nothing intricate or wild, just good, straight up rock. "Got To Do It" and the title track, "I Get Wet" keep the ship moving full steam ahead. What stands out in this latter portion is that heavy piano riffing that may surprise many people. The final track is Andrew W.K. imploring you to live life at full speed at all times. "Don't Stop Living In The Red" is a summation of everything you my have learned from the album, complete with big finish organs.

Though his subsequent albums took a noticeably jazzy turn, Andrew W.K. chiseled his name into the metal scriptures with this one. His influence stretches far and wide, from the Ke$has of the world, to the new wave of American sludge in Blizzard At Sea. It doesn't matter if you are a beer enthusiast or someone straight out of "Revenge Of The Nerds." With the twelve songs of pure listening satisfaction, "I Get Wet" proves that anyone can party.

9/10

Official Site - http://andrewwk.com/

Myspace - http://www.myspace.com/andrewwk

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Svartsot - Maledictus Eris (2011)

Denmark may not be the home to all things brutal, but Svartsot may change that soon enough. With a name that translates to "black sickness," their signature brand of Danish folk is sure to turn a few heads. They attack your ears with all of jauntiness of their contemporaries, but with a decidedly heavier vocal edge. And after two successful full length efforts, it is time for the next step. They release "Maledictus Eris" to a growing fanbase, in hopes of making the leap from folk band to folk heroes.

A baby cries. A family speaks. The short intro track, "Staden" leads you to "Gud Giv Det Varer Ved!" There is no hiding the influences here, with flutes and whistles carrying the bulk of the early load. The guitars, while distorted, have a certain melodic attribute that gives a razor sharp appeal to the vicious vocals. The vocal hook in the chorus may induce a head nod or three. The drumming is consistent, with the constant pounding of kicks and snares filling every available gap. A raspy cough ends the track, and launches you straight into "Dodedansen." This is a gritty affair, with the vocals bordering on blackened folk. But the use of whistles and, oddly, mandolin keeps the track lighter. The mixture of lighthearted native instruments and and twirling guitar work is well conceived and well delivered. Even amidst near death vocals, a rich guitar solo reignites the folk flame.

Those growls continue through "Farsoten Kom," but find themselves paired with chants that will convince you to raise your glass high. A wicked mandolin melody, however odd it may sound to say that, is the highlight of sounds like a bar room classic. The sporadic use of double kicks, normally done to death, reinforces the power in each thud. A sound that many would perceive as bagpipes infiltrates "Holdt Ned Af En Tjorn," creating a dancing sensation in your legs. The guitars chug away, with deep, forceful growls commanding each verse. The breakdown portion must be heard, with a bass line becoming tangled in the sea of pipes and whistles. A black metal vocal spurt pushes things back to heavy, before a light outro.

A distorted guitar echos as "Den Forgaengelige Tro" begins. This track leans back and forth between heavy and sublime. One second the whistles take over, light and airy. mere moments later, the growls crashing of cymbals seize control. The give and take creates a balance that separates a good folk band from a mediocre melodic death band. The drums in the early stages of "Om Jeg Lever Kveg" provide some interesting fills and rolls, but the whistles play the starring role. The rousing march is heightened by the impeccable timing of each flute portion. A more minimalist appraoch is taken on "Kunsten at Do," which fills a storytelling role. The verses are vocal dominated, with little going on musically. As you crash into each bridge and chorus, the band assert themselves, in a flurry of strings and pipes. The breakdown becomes more aggressive, leading to a fierce finish, drums crashing in every direction.

Nowhere on the album is the folk presence felt more than on "Den Nidske Gud." The vocals, while strong and dirty, take a backseat to the instrumental carnage. There is a great mix of folk elements and metal roots, coming together in a dynamic harmony. While the acoustic "ballad" of "Spigrene" is a complete departure from the rest of the disc. The clean, Danish vocals are inspiring. It is difficult to put into words the inherent beauty of a song crafted this way. The grand finale, "Og Landet Ligger Sa Ode Hen," is a victory in so many ways. The merging of the hard and the heavy with the rich and radiant is perfected. They now blend, seamlessly, in one final assault. The growls are the beast of it all, maintaining their strength in a what plays as a more lighthearted offering.

We have sung the praises of the folk genre numerous times. But not all folk is created equal. With so many different cultures, styles and instruments to absorb, it can be difficult to provide something that is both original and true to your roots. It is a mountain that takes time to climb. Svartsot are not yet at the pinnacle with "Maledictus Eris," but they are well on their way. When they reach the top, the flag of Denmark can join the legion of countries that have a seat on the folk metal throne.

8/10

Official Site - http://www.svartsot.dk/

Myspace - http://www.myspace.com/svartsot

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Chimaira - The Age Of Hell (2011)

The relentless Chimaira is finally back with some new intense tunes. They have released their sixth studio album and man, does this one pack a punch. The album is entitled "The Age Of Hell" and basically focuses on how the end of the world is near. I have to say the lyrics are pretty powerful in this one. And the performance of the instruments is a real rush. Get ready for some skull crushing songs.

The first track, entitled "The Age of Hell," is all about preparing you for the end and that this is the age of hell. It's a decent opening track. There isn't anything too special that jumps out, except for the chainsaw guitar riffs towards the end that help build up the suspense for the furious guitar solo that follows. "Clockwork" gives you a better view of what is still to come with its incredible double bass pedals and intriguing drum fills. The album really starts to pick up with the third song, "Losing My Mind." This track opens with almost a full minute of head thrashing guitars that chug away constantly. The monstrous riffs are backed by explosive double bass drumming. The vocals are aggressive and harsh during the verses. There is a bit of clean chanting during the refrain, which is followed with quick blast of massively distorted guitar riffs. However, this doesn't compare to the end of the track. It closes with a huge breakdown that includes some interesting synth sounds that add a futuristic feel to the music.

"Year Of The Snake" is another beast track that you'll want to check out. It starts with deafening guitars and quiet snares that build louder and louder as you are met with a violent growl. The chorus has devilish clean singing with eerie tones. With about a minute and a half left in the song, a destructive breakdown drop kicks you in the face with deep bass waves and crazy drumming. I can only imagine what the mosh pits will look like when they perform this one live. "Beyond The Graves" slows down with haunting guitars and crashing cymbals accompanied with booming snares and toms. You won't be able to help but bob your head to these nasty riffs. Also, the style of vocals are unique as you will hear a blend of growling and yelling together. It sounds awesome together. The song ends with a melodic solo as violent chords are blaring in the background.

Don't even think about taking a break now. "Born In Blood" carries the rage with its incredibly fast double bass pedaling and tense guitar riffs. The drums will pound you to the ground while you bleed from your eyes and ears. They also include a melodic solo that jumps from octave to octave rapidly. After this, it's right back to head bobbing with "Powerless." The band gets a little more technical as their verse contain heavy chugging layers with detailed melodic riffs all combined with vicious vocals. The double bass keeps the song in a steady motion while the cymbals and snares crash in all directions.

If you're looking for some more relentless drumming check out "Scapegoat." The beginning alone will grab your attention immediately as you hear nothing but speedy kicks and snapping cymbals. Demonic guitar riffs come flying in giving a dark feel to the song. The refrain is catchy and follows with some dirty guitar work. This is definitely another headbanger. Following this is the final track on the album which is entitled "Samsara." Running for about 6 minutes long, the instrumental starts out very calm with soothing guitar melodies. This of course changes quickly as monstrous guitars enter with lots of double bass action. Emil Werstler, one of the guitarists from Daath, is featured in it and shows off some of his hell raising melodic solos. Between the amazing guitar work and pulverizing drum rolls, this ending track will have you begging for more. Not to mention you're probably going to shit yourself. It's that insane!

Chimaira has really stepped things up this time. "The Age Of Hell" is full of energy and excitement. It's got low earth shaking breakdowns and high flying guitar solos for all to enjoy. So make sure you check this album out. You won't be disappointed!

9/10

Official Site - http://www.chimaira.com/
Myspace - http://www.myspace.com/chimaira

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Morito Ergo Sum - I Die, Therefore I Am (2010)

Traditional doom is an art form. Sure, you can go a little to the left, or a little to the right. But the straight and narrow road of doom, as it is and always will be, is one rarely traveled. Sweden's Morito Ergo Sum are walking that fine line, with violin in hand. On their debut offering, "I Die, Therefore I Am," the haunting melancholic tones are the star, and they will leave you stirred, not shaken.

The album begins with "The End," an intro track of pulsing bass and screeching strings, but all awash in various effects. One minute of eerie instrumentation and sounds, flowing directly into "Gone." This is traditional doom metal through and through, with the slow distorted guitar work creating a somber atmosphere. The drum patterns barely move above a crawl, providing only a beat at most times. An occasional fill rolls through, tying together bridge to chorus. The vocals are ghostly, but beautifully melodic. Much like Aaron Stainthorpe, lead singer of My Dying Bride, Walter Basile has a "doom and gloom" quality that cuts through to your core. A few moments of double bass and heavier guitar work reignite the fires of the track. But this isn't a headbanger. This is pure sadness.

Out of the ashes of "Gone" comes the title track, "I Die Therefore I Am." The guitars have a distinctly darker mood here, winding through chord progressions. Basile's voice comes to you from beyond the misty graveyard. He chants along to a downtempo tom beat, with guitars showing intermittent chugging ability. The greatness of the track is in the simplicity. The power is in the vocal delivery, calming, yet somehow unnerving. The violin enters, first in solo form. But as the guitars and drums build back, the strings take over as the melody. The lightly distorted guitars that dominate the breakdown portion are stirring, with darting notes layered on top of massive chords. The bass rumbles through your speakers, with only drums to back it, paving the way for a violin outro that may leave a single tear hanging from your eyes.

Morito Ergo Sum, which is Latin for "I die therefore I am," provide a short but long-lasting impression. From Basile's voice to the simple yet satisfying musical accompaniments, everything falls into place on this EP. In fifteen glorious minutes, you are taken into the depths of sadness. No death metal pieces. No forty piece orchestra. This is doom. No ifs ands or buts.

8/10

Official Site - http://moritoergosum.blogspot.com/
Myspace - http://www.myspace.com/moritoergosumband

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The Podcast: Episode 16 (Prepare. The. Saaaauuuuccceeee.)

The guys are feeling good, with a new site at SorrowEternal.com in the works. Murmaider gushes over Amanda Somerville and Michael Kiske's duet album, and the latest album by Black Sun Aeon. Hell22 wants to share Blizzard At Sea with the world. Now, we have to ask you. Have you seen the Vegan Black Metal Chef yet? Well, we sure have, and we are fans. Check him out, buy a shirt (or knife) on his site.

Download it here!

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Edguy - Rocket Ride (2006)

In 2006, The German power metal band, Edguy, released "Rocket Ride." This has been one of their most successful albums of their career. It has got tons of epic refrains and thunderous guitar solos mixed with funny lyrics and a good time.

The album starts off with the eight minute long "Sacrifice" which is the longest song on the whole album. It opens with angelic piano riffs and echoing guitars chords. Melodic strings following over the blaring guitars as the drums start to explode. The verse gets quiet as all of the instruments fade except for the piano. Lead singer, Tobias Sammet, comes in with soothing lyrics as his voice flows over the piano gently. Aggressive guitars roll in as the pre-chorus builds toward the end of the verse. The refrain hits with high flying vocals surrounded by loud crashing cymbals and deafening guitar riffs. The song continues with some hard chugging followed by electrifying guitar solos hitting every note on the scale. The instruments fade again for a brief second as the next verse starts off. Sammets constant change in pitch is incredible as he soar to the heavens with his high notes and comes gliding down with his medium and lower vocals. There is tons of speedy synthesizers and catchy melodies throughout the song keeping you hooked from start to finish.

"Wasted time" starts out interesting as strange bass waves roll through the first minute as the guitars add short notes in the background. After the first minute in the drums drop with a basic kick-snare pattern as blasting guitars jump in with massive amounts of distortion. You're going to want to pump your first for sure. The verse starts out quiet with nothing but soft acoustic strumming combined with Sammet's soothing vocals. The refrain constains catchy lyrics delivered with power as Sammet belts with high flying layered vocals. You'll find similar vocals in the next song, entitled "Matrix." The flange and reverb effects give an amazing futuristic sound to the song. Even the bass lines have an interesting sound effect to it. This is definitely a song you will want to listen to a couple of times.

The futuristic effects don't stop there. "Return To The Tribe" opens with catchy guitar riffs loaded with delay and reverb. The chords echo off the walls as heavy distorted guitars chug away. The double bass pedal drumming keeps a fast tempo as you'll find yourself bobbing your head immediately. Sammet flies over the guitars in the refrain hitting unbelievably high notes. It's mind blowing to hear his pitch jump so high. The drums are rapid with detailed fills and constant cymbals breaking everywhere. After, a melodic guitar solo follows. This song is a solid backbone to the album.

Later in the album you will come across the infamous song "Superheroes." The verse starts with detailed bass lines as Sammet sings with aggression. Constant kick-snare patterns take over the drums as monstrous guitar riffs chug away. This all sets a great build up to the refrain. The chorus contains catchy lyrics that you won't be able to resist. Gorgeous piano parts flow in and out of the guitars and are surrounded by soft orchestral strings. Definitely get ready to throw your fists in the air for this one. Especially since you're going to be hitting the replay button a couple of times.

"Rocket Ride" is definitely a party album. The lyrics are fun and the music offers a good time. This of course, is what Edguy is all about. If you're looking for upbeat music with catchy hooks and refrains than this is the album for you!

8.5/10

Official Site - http://www.edguy.net/

Myspace - http://www.myspace.com/edguy

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Black Sun Aeon - Routa (2010)

Have you ever looked into the metal underground scene in Lahti, Finland? Well I have and Black Sun Aeon is what I've come across. Formed in 2008, this 4 piece doom metal band has come together and released a full length album in 2010, entitled "Routa." The album has got everything from depressive vocals to heavy growling. The instrumentation is phenomenal with dark chords, explosive drumming, and soothing orchestral stings as well.

The opening track entitled, "Core Of Winter," starts with atmospheric strings and chugging guitar riffs blended with bone crushing drums and sizzling cymbals. Melodic roffs are layered on top as it prepares you for the verse. The first verse consists of slow depressive clean vocals similar to the style of the band My Dying Bride. The drum patterns in the background are filled with detail as kicks, snares, and drums jump in and out rapidly. A short breakdown fills between the gap of the first and second verse with exploding drum rolls and deafening guitar riffs with blaring distortion. After the second verse of depressive clean vocals comes a storm of devilish growls that will have you shitting your pants immediately. The refrain at the end of the track has both the clean singing and vicious growling layered on top of one another giving that beauty and the beast feel.

"Frozen" is the next track on the album and starts out with muffled guitar riffs which quickly become clear as the drums drop. The aggressive riffs will have you bashing your head with the beat. Violent growls enter in the verse as the clean vocals take care of the chorus. Following this track is "Sorrow Song." This is where the progressiveness kicks in. The first minute is heavy chugging and demonic guitar riffs. Cymbals are crashing everywhere while the kick and snare run back and fourth between chords. Wicked growls pulverize the verse as the tempo of the guitars stay steady. The melodies in between in the verses and refrain are very catchy and yet gloomy at the same time. This is a solid track you won't want to skip.

"Routa" has got a lot going on in the beginning. Rapid double bass pedals are layered with shattering cymbals, punchy bass lines, and violent guitar riffs. With the evil growling in the verse, the song has a strong black metal tone to it. The double bass action really puts some speed into the album. The orchestrated string really surround the rest of the instruments keeping everything balanced and together. Another amazing track is ""Dead Sun Aeon." Booming guitar riffs chug away in the beginning while depressive strings float in the background. Be prepared for a change up in vocals as you hear a beautiful female voice from Janica Lonn enter with quiet guitar notes in the background. Her melodic voice pulls you into the song as the instruments build up to the end of the verse. Powerful guitar riffs blast away in between the verses knocking you on your ass only to be lifted by Lonn's vocals in the second verse. A gorgeous melody runs through the strings after the verse as deafening growls enter in the end. The structure of this song is magnificent and is definitely one of my favorites on the album.

"River" and "Wanderer" are two powerful tracks that will run right over you the first time listening. They've got monstrous double bass pedaling, fast tempos and roaring growls that hit you in the face lyric after lyric. The breakdown in "Wanderer" is full of overwhelming bass and will definitely have you pumping your fist. The guitar work is incredible as they switch between melodic notes and piercing demonic chords. "Apocalyptic Reveries" is the final track on the album and runs for 7 minutes long. Its more of a two part ending as the first part starts with muffled clean vocals that enter the verse as wretched guitars are slammed in the background. The vocals give a haunting vibe to the song. Double bass pedals take over as the guitars are constantly chugging along. Layered on top is a wick guitar that almost plays as a vocal itself with its melodic tones. This fades about 4 minutes in as the last three minutes consist of a beautiful melodic acoustic guitar. Honestly I could listen to this all day!

Overall "Routa" is a mind blowing album that really took me by surprise when I first listened to it. The recording quality is excellent and the song structure is magnificent. Black Sun Aeon is definitely another young band with lots of potential and is heading in the right direction. Looking forward to their next project!

8.5/10

Official Site - http://www.blacksunaeon.com/
Myspace - http://www.myspace.com/aeonoftheblacksun

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Dream Theater - Systematic Chaos (2007)

Let's face it. You either like Dream Theater, or you don't. There are very few that fall into that middle space. Progressive rock and metal fans from across the world have spent more than two decades marveling at the musicianship that this American based band have put on display. While others, like it or not, think their albums are little more than "musical masturbation." The argument is impossible to win. Regardless of your opinion, "Systematic Chaos" is an album that needs to be heard and dissected.

The tangled web of drums, guitar, bass and keyboards is woven into the fabric of "In The Presence Of Enemies - Part 1." The song has two distinct parts, with the first half being completely instrumental. The intro sounds like each instrument is playing a solo, but all to the same beat. They merge well despite the chaos. But as things slow, the true cohesion begins. This is where Dream Theater shines brightest. Petrucci, Portnoy, Myung and Rudess play so well off of one another, creating rich melodies and harmony, with layer upon layer of sound. The second half allows room for James LaBrie, the lightning rod for most Dream Theater detractors, the chance to enter with his clean vocals. His in-studio vocals are above average, but passive. The music is the star, and he is a supporting actor.

The soft piano that introduces "Forsaken" is a light appetizer. As soon as Petrucci's guitar comes screeching in, this evolves into a progressive rock work. Myung's bass rumbles in, while LaBrie carves out the beginnings of a story. The full band comes together here, with each member providing a necessary element to complete the effect. A choreographed stop/start is perfectly placed, launching the second half of the song with a fury. Petrucci takes over with a commanding, shredding solo, on top of Rudess' atmospheric background keys. The drumming over Portnoy isn't overbearing, but rather powerful. The track ends where it begins, in the deft hands of a keyboard master.

Fans of the band were prepared for the shred fest of "Constant Motion," with each member of the band showing off their respective talents. There is an odd similarity to old Metallica, as if Dream Theater were giving us a quick taste of what the metal legends would have been like had they not fallen off so terribly. The mesh of guitar and drums in the bridge section will leave you dizzy. The breakdown section is filled with high octane fret work and firing drums, but is capped by a dynamic keyboard solo. "The Dark Eternal Night" is a stomping track, which might catch you of guard at times. The melodies in the chorus are the strength, while the odd vocal structure in the verse is a low point. The instrumental work is all top notch, featuring some ridiculous dueling guitar and keyboards. The old time silent movie soundtrack breakdown portion is light-hearted and fun. But there is plenty of heaviness to absorb as well, with pounding drum beats urging the band along.

There most interesting composition on the album comes in the form of "Repentance," a mainly instrumental track with spoken voices confessing sins of their past. The song is emotional and moving, as the mood of the music shifts from dark and ominous, to a more piano-laden somber one. Even after nearly eleven minutes, you may still find yourself swaying from side to side with each passing drum fill or cymbal crash. LaBrie has a rare chance to take center stage in the opening minute of "Prophets Of War," as his voice is heard over only the pulsing keys. As the drums enter, one kick at a time, the track builds into an anthem of change. layers of guitars, drums and bass come together, a call to action against tyranny. There is an air of triumph in the pre-chorus, leading to a chant of support in the chorus itself. The strength of the instruments is outdone only by the strength of the message itself.

The fifteen minute melodic epic that follows, "The Ministry Of Lost Souls," is a mixture of everything you have come to love (or hate) from Dream Theater. Soft, clean guitars with soothing vocals begin the track. The refrains have all of the lighter inducing fair of a rock ballad, complete with Rudess' ringing piano chords. But the chain of solos that follow are signature moves, with Petrucci screaming ahead with brute force. His guitars wind in and out of the pattern; on time, off time, on his own time. Rudess' keyboards take command, only to be seized by a tremendous drum fill that steals the show for Portnoy. Myung's bass is the constant, tying each section together with his atomic clock of sonic low end. The guitars inevitably win out, with a raucous solo hitting pitches up and down the scales. At last, the band reunites, coming back to the songs course, welcoming LaBrie back, and cruising to a prog rock finish.

The closing number, "In The Presence Of Enemies - Part 2," starts as soft and delicately as it could, before taking a noticeably dark turn. "Dark master within, I will fight for you. Dark master of sin, now my soul is yours." Disturbing at first, perhaps, but there is so much more. The light is yet to come, with ripping solos coming from every direction. This is a track that adds fuel to the fire of the "haters." Some of the instrumentals will seem unnecessary, especially to someone unfamiliar or uncomfortable with the band's epic desires. But each note has a place, each instrument takes a swing at the piñata of a successful song. And when all four (five including vocals) connect, there is a spray of confetti that is not easy to explain.

There is simply no denying the talent levels that the members of Dream Theater possess. Two and a half decades of success is proof of that. This band is a juggernaut, and not soon to be stopped. But what one hears as a cohesive, well constructed progressive metal masterpiece, another might characterize as a mish mosh of solos and "look what I can do" attitude. "Systematic Chaos" is both and neither. All at the same time. There, I said it.

9/10

Official Site - http://www.dreamtheater.net/

Myspace - http://www.myspace.com/dreamtheater

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Kiske/Somerville - Kiske/Somerville (2010)

If you're a fan of power metal then you should be familiar with Michael Kiske, former lead singer of Helloween, and Amanda Somerville, who is an American female vocalist that has done much work with bands like Kamelot, Avanstasia, Epica, and After Forever. Together they have formed a duet project and have released a full length self titled album. The record consists of a mixture of hard rock and power metal tones.

The first track, entitled "Nothing Left To Say," opens with heavily flanged guitar riffs giving off a strong futuristic sound. Speedy, up beat drums coming rolling in as guitars sore over them. Kiske enters the verse with his clean melodic vocals. He is accompanied by Somerville during the chorus which sets up a beautiful range of vocals. It's fast and catchy with emotion lyrics to seal the deal. A wicked guitar solo comes flying in towards the end, as are notes are being tossed around rapidly. As the song fades, you are hit with "Silence," which starts with gorgeous piano riffs layered with Kiske's high vocals. There are also some mellow orchestrated strings that back up the piano. Somerville takes over half way through the verse with her soothing voice, as the drums kick in the background. The way these two trade off verses really gives a soft, relaxing feel to the album. Especially when they sing together, mixing their vocals together.

"A Thousand Suns" kicks off with electrifying guitar riffs and splashing cymbals that quickly fade as Somerville enters with the verse. Soft bass and clean guitars surround her vocals. As the chorus builds, distorted guitars are slammed as crazy drum fills explode in the background. Layered together, their voices are filled with deep emotional lyrics in the refrain. Both showing so much passion in their vocals. Definitely learn the words because you're going to be singing along.

The tempo picks up in "Rain," as another heavily flanged guitar intro starts. The verses have got really punchy bass lines that accompany Kiske's vocals quite well. Somerville shows off her strong voice in the second verse. Basic kick and snare drumming provide a simple background so that you aren't distracted from the melodic singing. The refrain is very catchy as monstrous guitar riffs come blaring in with thunderous drum rolls behind them. The album slows back down with "One Night Burning," as angelic piano notes play to soothing strings. More basic kick and snare drums enter half way through the verse, as the cymbals start to build for the chorus. The refrain has Kiske singing the lower octave and Somerville singing the higher octave that sounds amazing together.

They do this a lot in the song "Second Chance" as well. The tone of their voices clashing together mixed with different octaves is just phenomenal. "Set A Fire" is the final song on the album and starts with powerful guitar riffs and dominating drums. The cymbals crash from left to right while the snare just pounds away at you. As the verse starts the drums continue with aggression as Somerville sores over top of it. The chorus has a great build to it as the guitars get louder and more violent with each chord. You're definitely going to be bobbing your head to this one. They end the album with a bang!

From fast tempos and violent drum fills to gentle piano and calm vocals, this album has it all. The structure of the album is very unique as the songs constantly change from aggressive to relaxing and really offers something to everyone. Let's hope they write a second album.

8/10

Official Michael Kiske site - http://www.michael-kiske.de/
Official Amanda Somerville site - http://www.amandasomerville.com/

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Chthonic - Takasago Army (2011)

 

It is no surprise that metal and political activism have become intertwined through the years. But the powerful message delivered by Taiwanese symphonic black metal band Chthonic, one of independence for Taiwan, has taken the entire world by storm. So much, in fact, that they have been banned from playing certain areas of China. But taking their rich, Asian heritage and combining it with the fury of metal, the band are sure to be heard the world over. On their latest album, "Takasago Army," they continue the quest for Unlimited Taiwan.

That light, beautiful Asian sound opens "The Island," in true symphonic style. The rattle of cymbals combines with immense strings, as if this is the opening to a Hollywood blockbuster. But from the airy to the intense, "Legacy Of The Seediq" roars into action. The drumming stands out from the pack, with a flurry of kicks and snares that may leave you dizzy. From the deathly growls to the screeching screams, the vocals are a kick in the face. But amidst the thrashing and whining of guitars and drums, the classical Taiwanese instrumentation, in the form of the erhu, puts a little silver lining on the dark musical cloud. The heavy handed chugging at the song's end is complimented so well by the use of keyboards and strings.

The first single from the album, titled "Takao," begins with low register chanting, placed on top of the rapid pounding of drums. The song tells the tale of Taiwanese soldiers leaving to join the war in the Pacific. The guitar work is delivered with the utmost precision, from the rapid picking to intense thrashing. Additional vocals, provided by members of Ensiferum, only heighten the experience. This is traditional Taiwanese folk, dropped into the pits of fiery black metal. The growls that lead "Oceanquake" are tremendous, in both volume and weight. That eerie keyboard and erhu melody is a contrast that highlights just how deep and layered the music is, aside from the blastbeats and heavy, chugging chord work. Just imagine the sea of people jumping and bobbing to this breakdown. A wailing solo puts the exclamation point on this strong track.

Tradition collides with thunder in "Southern Cross," a track which gives you both admiration for culture and a case of whiplash in the span of fifteen glorious seconds. The soft pipes are immediately obliterated by a kick drum from hell. The rolls used in this song are fast and furious, tying together guitar excerpts and brutal, violent vocals. The conflicted vocal styles, from death to black metal, cut back and forth. The fretwork in the guitar solo is precise and pulverizing, leading this thrasher to a conclusion. With keyboards and synthesizers layered on top of deafening drums, "Kaoru" takes no prisoners. The use of lightly whispers vocals throughout the verses is haunting, sounding as if you are hearing voices from beyond the gave. The erhu and strings become the cement that ties the band together, providing light where there seems to only be darkness. But the most inspiring moments come in the bridge section, with clean vocals taking the spotlight quickly, before handing the reins back to the brutal.

"Broken Jade" emerges as the most folk oriented track on the album, but this is not to say it doesn't have its own melodic death moments. Putting deathly growls in the same sections as plucked Asian strings and the erhu is daring, to the say the least. Daring, and successful. The short interlude, aptly titled "Root Regeneration," is little more than wood flutes and spoken passages. Relaxing, breathaking, and ominous, all at once. To say that the following track, "Mahakala," is a drummers delight is an understatement. From lightning fills, to staggering rolls, to the thumping of non-stop kicks, this is a drum clinic. The screeching vocals take over the lead, in true black metal style. But behind all of the chaos and distortion  is that ever-present cultural element.

The album's finale, "Quell The Souls In Sing Ling Temple," is Chthonic in one song. Every element of their musical background, their culture and their beliefs, finds a home in a mere five minutes of devastating metal assault. There is literally something for everyone. Thrash fans will find enjoyment in the twirling, yet crushingly distorted guitars. Death fans will get their fill of the deep, harsh growls. The native instruments shine through, once again, to feed the folk fan in all of us. Even the power metal aficionado will be happy with the instrumental portion around the three minute mark. There is so much on display at one time, that it may become hard to pick it all out on the first listen.

There must always be a balance between the music and the message. If one outweighs the other, it becomes lopsided and fails to serve the ultimate purpose. Chthonic tread this line delicately on every release, walking a dangerous path. Yet, somehow, they walk the tightrope with no problem, no missteps, not a shaky stride in sight. The music is as powerful as the message it seeks to deliver. And "Takasago Army" is an album and a movement that deserves to be heard.

9/10

Official Site - http://chthonic.org/

Myspace - http://www.myspace.com/chthonictw

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Blizzard At Sea - Invariance (EP) (2011)

Metal from Iowa. No. Not that masked band. Real metal from Iowa. Iowa City three piece Blizzard At Sea play a brand of bass heavy sludge that you might not be ready for. In the mood for some twirling guitar solos and operatic vocals? Then move along. Are you into a style of music classified as "djent?" Nothing to see here. Love the sultry voice of a female singer? Nope, not a chance. I think you get the picture. Good, heavy, working class metal, without a hint of irony or ego. This is "Invariance."

Deep, rich guitars open the albums first track, "Islands Of Stars." As the light tapping of cymbals begins, you can feel the pressure start to build. A single rumbling bass note echos and fades, before the band explodes into a furious wall of sound. Low, distorted bass lines clash with heavy handed drumming, opening the door for a chain of harsh screams. The tempo builds, with the solid rhythm section taking the lead. Guitar chords are played at a solid bass, moving up and down in tone, often feeling spacey. The single notes dart in and out of one another, with the solid pounding of kick and snare. Even in the more stripped down sections, the bass will shake you to your core. One last rush leads the track home, with the raspy screams leading the way.

A single guitar provided the opening melody in "Closed Universe," before it delves into a full band attack. Guitar and bass sync up together, becoming the backing for a series of harsh, coarse vocals. Moving up and down the scales, the guitar work winds away, switching back and forth between clean melodies and distorted chords. The airy vocals in the mid section are a nice change of pace, with the simple kick snare drum combinations keeping a solid beat throughout. The build up of guitars leads you back to a thrashing scream fest, with syncopated drum hits bringing it all together.

There is a definite post-metal sound in the early stages of "Simulacra," using the instrumentals to set a tone and story before the vocals kick in. Things slow down, with the bass sliding up and down the neck in support of the vocals. Things are slow and deliberate through the verse, while the guitars get more creative in the bridge. The solo is perfectly placed and executed, bringing some clean, progressive elements to the table. Drums, bass and guitar come together or a long build up, dialing it back for a darker melody. The instrumental work here would make "Crack The Skye" era Mastodon nod their heads. Even the bellowing cries are at home, leaving your neck soar and ears throbbing.

Track placement can breathe life into, or kill, an album. And the choice to finish things off with "Action At A Distance" was a good one. The light intro gives way to a low end rumble of drums and bass. The beat and flow of this early section could easily have been fleshed out to a nine minute instrumental of its own. But as the distortion hits with the force of a semi-truck, you see why this is the closer. The punch of the drums is undeniable, with every fill and roll sending your woofer into a state of shock. Each change of tempo and tone keeps you guessing, with no opportunity to lose focus. Stop and start, fast and slow, clean and dirty. You get a healthy dose of the entire scope of metal in this track, including a foray into clean, almost chant-like vocals. With all the chaos captured on this album, it is only fitting that they shift gears, and go out like a lamb.

The idea that metal must be complicated to be good was never right. It was the opinion of the elitists, who truly believed that solos and sweep picking defined the genre. Blizzard At Sea is another nail in the coffin of that theory. Good, hard-nosed instrumentals with the grit and force of a strong vocalist. Elitists need not bother. Fans of metal, "Invariance" is an album to add to your progressive sludge wish list.

8.5/10

Official Site - http://blizzardatsea.com/
Myspace - http://www.myspace.com/blizzardatsea

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The Podcast: Episode 15 (Lord Of The Dance)

The guys kick back and beat the summer heat by discussing some great new bands, like Powerwolf, Ogen, and Project Masquerade.  We realized that after all this time, we hadn't really given folk metal its due. Combining the fun, dance oriented beats with native storytelling and instruments, this branch of metal is as entertaining as it gets. So, put on a "Lord Of The Dance" DVD, pull out your hurdy gurdy, and join us!

Download it here!

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Lamb Of God - Wrath (2009)

The powerful heavy metal band from Richmond, Virginia, Lamb Of God, has constantly released bone crushing albums and in 2009 they did it again with "Wrath." This is the band sixth full length album, and hit sales exceeding 68,000 within the first week. The album has massive amounts of bass as you will hear booming drums and electrifying guitars throughout the album. This is definitely something you don't want to miss!

The intro track, "The Passing," is a very calm instrumental song with soft guitar riffs but has some pretty detailed drum fills as well. "In Your Words" Follows with deafening cymbals, rapid snares, and blaring guitars. Lead vocalist, Randy Blythe, has a slightly different style of vocals in this album compared to the bands last few. Aside from his well known vicious growling, he also throws some violent yelling which echoes from ear to ear. The background contains some insane double bass pedal action and constant chugging of guitars in demonic tones. The last minute of the song is a repetitive catchy riff combined with constant explosive drum rolls. This is such a monstrous track to kick off the album with.

The aggressiveness doesn't stop here, "Set To Fail" jumps right in with machine gun snares and more speedy speedy drum fills which punch you in the face. There are wild guitar riffs that will rip through you speakers. Blythes vocals dominate the track with his vicious growls. Similar tones follow in "Contractor" which was the first single released off of the album. Although it's only three and a half minutes long, it wastes no time getting right into the destruction and violence. The verse grab you by the throat and throw you to the floor as the drums constantly pound away at you. The breakdown in the middle of the song will have you bashing you're head along with the snare drum. More crazy double bass pedaling jumps in towards the end as the growling gets more and more intense with every lyric. You're definitely going to want to replay this song a couple of times before moving on.

If you're looking for some solo work doesn't hesitate to check out "Grace." The song fades in with a quite guitar melody luring you closer to your speakers as you try to get a full ear of what is being played. You are then met with a wall of distortion as you are crushed with monstrous guitars and violent kick-snare drumming. The detailed drum fills are exploding with rage leaving you no time to breathe. The cymbals are constantly ringing from left to right. Towards the end is where you will find your note murdering guitar solos. "Broken Hands" is another one with hell raising guitar solos. These are two tracks you'll definitely want to jump on if you're a solo kind of guy. The structures are ridiculous and consist of so much detail.

The album comes to a close with the seven minute long "Reclamation." Now don't let the quiet intro fool you, this track packs a punch when the verses drop. The song structure is incredible as you'll notice the patterns of the guitar riffs changing constantly in the background throughout each section of the song. Double bass drums drill away while cymbals crash everywhere. The guitars will have you bobbing you're head for sure. As far as the vocals go, Blythe goes back and forth between growling and yelling which really keeps you at the edge of your seat as you waiting for the next verse to drop. It's definitely a solid ending to a solid album.

Overall, "Wrath" has got some destructive breakdowns and mind blowing guitar solos and really shows that Lamb Of God can balance between metal and core as they constantly throw both slow, heavy breakdowns and quick solos. The change in Blythe's vocals helped keep the album unique from their older albums even though there were some fans who were disappointed in the change. Find out for yourself and check out the album!

9/10

Official Site - http://www.lamb-of-god.com/
Myspace - http://www.myspace.com/lambofgod

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Ogen - Black Metal Unbound (2011)

Lurking in the shadows of Italy lies an underground black metal band by the name of Ogen, a solo project by a man named Hartagga. He has written and recorded all of the music and lyrics on this EP, titled "Black Metal Unbound," which consist of five solid tracks of pure darkness.

Heavy machine gun double bass pedaling fires away in "Shattered Earth Volcano," starting off the album with a bang. Speedy guitar riffs lay on top of the drumming with devilish tones. The fiery snap of the snare controls the tempo as it will also control you're head as it bangs to the beat. Notice after the verses is an incredible little drum solo that set up the refrain perfectly. The details are insane. Wicked vocals rush in with deep, dark growls. There is definitely some strong black metal tones in Hartagga's delivery. This is nothing but a solid black metal song full of speed and aggression. A great opener to the EP.

"Black Tusk Retaliation" starts with a very interesting pattern of chords, as the first two build up with a positive feel, but are then brought down with minor chords to give it that epic yet demonic feel. The growling is down right malevolent and really sends a dark message just through the sound of his voice alone. The vocals do change up a bit in the middle of the song, with some eerie clean singing performed in a ghostly manner. As far as the drumming goes, constant double bass pedal action throughout leaving an explosive tone to the background. Violent guitars filled with distortion take over the track and provides an overwhelming background for Hartagga's vocals. Another track with lots of evil riffs is "Crest Of The Forgotten," which has got some really screechy black metal sounding guitars in between the verses. The vocals aren't as deep in this song as the others, however, they definitely have some pain in them creating great imagery to the music.

Monstrous guitar riffs take over in "As A Leaden Sun Shineth Upon" as thunderous drum rolls destroy the background completely. The are some quick melodic solos towards the middle of the song, hitting the highs and lows and making everything connect smoothly. This leads to some clean singing at the end of the song backed with some more incredible drum fills. This is probably the weakest of any of the songs, mainly because it drags out a bit in the end. I found myself skipping to the next song while the last minute of the track was still rolling.

The last track starts out with a brutal drum fill right off the get, as harsh guitar riffs attack you from all angles. This is where you will want to pump your fist in the air. This being the longest track on the EP, it's definitely got a lot to offer as it runs for over seven minutes long. The guitar work is aggressive and evil during the verses, as more vicious growling runs right over it. After about 4 and a half minutes, all instruments fade out except a quiet guitar riff. Soft notes float through the air with beautiful tones giving a whole new look to this track. This is definitely one of my favorite parts of this whole EP. The guitar runs for the rest of the song as it slowly fades to an end.

"Black Metal Unbound" has hit all of the solid elements of extreme black metal and is definitely a step in the right direction for this new born band. Ogen definitely has the potential to separate himself from the rest of the black metal bands that are just starting out. This industry is a tough one to get noticed, but as long as he keeps writing solid tracks like these then Ogen will be well on its way.

7.5/10

Official Site - http://www.kolonyrecords.com/ogen.html
Myspace - http://www.myspace.com/ogenblackmetal

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Enslaved - The Sleeping Gods (EP) (2011)

Enslaved is a band that needs to introduction. We know them, know their catalog, know their style. So, if I told you that they have a new EP available for the glittery, twinkling price of "free," I would assume that you are as excited as I was. The folks at Scion A/V are doing something that the music industry needs to start doing more often: giving away great metal. For now, we are content to have awoken "The Sleeping Gods."

The light chugging of guitars crashes into an earthquake of bass, and the opening track, "Heimvegen," begins. Sterling clean vocals emerge in the early verses, only to be replaced by devilish growling as the track progresses. The precise, yet power-packed crash of snare and cymbal highlights each passing frame. The bass line is devastating, rolling through the rack with clean, pure low end. The use of chanting behind the lead vocals is a well thought out layer. A descending scale leads to a choreographed cymbal crash and stop.

The more aggressive "Alu Misyrki" has all of the musical makings of a true black metal piece, with guitars thrashing amidst a flood of high octane drumming. The singing, however, is harsh with a sparse use of clean, melodic vocals. A surprise solo bursts, cutting through the barrage with a twisting winding bit of fret work. The track breaks into a keyboard backed stomp, with screams aplenty. "Synthesis" is aptly titled, with the low roll of electronics occupying the entire length of the track. The thunder is constant, with softly whispered vocals popping up here and there.

The band show off their melodic sensibilities in the opening measures of the instrumental, "Nordlys," before letting distortion rule. There is something dark and sinister about the track, stemming from the loud, penetrating double kicks and blitzing snare rolls. The song switches back to an evil melody, lead by a fierce, galloping bass line. The song cuts to a single clean guitar, and fades away. The album finale, and title track, begins with pounding, almost tribal, drums. The chanting vocals that dominate the track are cold, but deep. Layers of crashing drums and cymbals are added, with synthesized notes tying the pieces together. An odd composition, but not short on creativity.

Let's face it, free music is just that: free. So, while it may seem easy to complain that this isn't Enslaved at their best, it is still better than so many albums you had to pay for this year. The band have branched out slightly, trying their hand at some different styles. Everything presented is strong, in it's old right, but not in that gritty, progressive black metal way that we may have come to expect. That said, the album is perfect for the price. Sold!

7.5/10

Official Site - http://www.enslaved.no/

Myspace - http://www.myspace.com/enslaved

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Project Masquerade - Nothing But Everything Will Remain (2011)

The pressure of major labels leads so many bands to write and record entire albums in weeks. They work tirelessly to put out the best product possible, but the strict deadlines and "dollars & cents" nature of the industry lead to albums being released prematurely. Mediocre albums, too much filler, and the collapse of a business all hang in the balance. That is why now, in 2011, when someone dedicates almost three years to one album, one dreams, one vision, it is time to take notice. And when Noud Smeets completed work on the Project Masquerade album "Nothing But Everything Will Remain," rest assured, it was ready for you to hear.

There is no rush in getting to the meat of "Disease," and you will be thankful for each note. The intro is broken into two pieces, with the first feature a softer, acoustic guitar and a outrageous, rumbling bass line. Each drum hit will rattle your beverage of choice. The guitar distortion kicks in, signalling the countdown. The tempo peaks as the cleanly delivered vocals enter provided by Chandler Mogel. Their strength builds as the song progresses, gaining power and momentum with each verse. The beauty of the guitar work is in the variation. Lightning fast crunching notes dominate the verse, but more melodic styles take the chorus and bridge sections. The contrast is key, especially over the span of eleven minutes. The rhythm section is not to be taken for granted, holding down the sonic fort as guitarist Noud Smeets explores with some intricate fret work. The more subtle fingerings give way to a blazing solo, with the thunderous low end accenting every note.

The concept of finding your soulmate is explored in a pair of tracks, beginning with the drum clinic on "Carve Your Soul," which is impressive, with the flurry of double bass pedal work shaking your eye sockets. As fast as the kicks and snares are delivered, Smeets' climbs up and down the guitar neck, delivering scales of a intense nature. The periods of intermittent chugging and thrashing are perfectly timed, carving out a place for a stirring vocal performance. Amidst the crashing of drums and guitars, the combined vocals of Dmitri Kostitsyn and Suzy Silversteim are otherwordly. His coarse, bitter screams and growls are paired with her sweet, angelic voice in a daring mix.

The atmospheric keys and electronics begin part two of the duo, before the whine of Smeets signature guitar sound screams through it all. The track is a slow, distorted stomp, with the glorious low end presence that is so often lacking in modern metal. The smooth, melodic vocals of Michel Zandbergen are the perfect match. The light tap of cymbals shines through, before the power is unleashed. Zandbergen shows his vocal range, with his voice soaring over the top. Smeets cruises up and down, before igniting a groove of staggering proportions. The continued heavy handed drumming is a worthy platform for the solo work, before allowing the vocals to re-enter and complete the sound.

Lightning fills launch "Killer Of Life," with the soft whisper of vocals building to the screams of Daniel Verbrugge. This is a thrash track, pure and simple, whipping your head back and forth. The guitars are low, with distortion crushing down on each note. The accuracy of the instruments is key, with stop and start moments coming frequently. But the highlight of the track comes just over two minutes in, as the deathly screams give way to a guitar solo that has something that thrash lacks: soul. Dutch singer/songwriter Grain lends her amazing vocals talents here, as well. The contrast of her clean, heavenly voice is unreal. Smeets rattles of blistering passage after blistering passage, changing tempos at will, keeping minute seven as fresh as minute one. Verbrugge ends the assault with a grunting scream that you won't soon forget.

The completely instrumental "Masterplan" is Smeets at his shredding best. It is as if he tells a story with each note, bending the strings to conform to his musical vision. But the backing band is key here, with the deafening bass and drum beats turning this into a well rounded composition, rather than a four and a half minute guitar solo. You may lose track of time very quickly, trying to keep up with the pace set. Nothing is forced, nothing is simply thrown in. The background thrash is expertly timed, while the guitar melodies that dominate the track are pitch perfect and spot on.

The album's finale, "King Of The Wastelands," displays that ability to combine the heavy and the melodic that Smeets was known for over the course of two decades in the business. The music provides the hard and heavy punch, while the vocals of Chandler Mogel are once again utilized. He is in his element on this track, giving a stirring performance, all the while standing in a sea of harsh, distorted notes. The rolls and fills used to tie each section together deserve attention, keeping the song cohesive and flowing. The solo that brings the album to a close is a fitting end, climbing the scales to new heights.

There is something to be said for the dedication and persistence that leads to a man spending the better part of three years recording and perfecting an album. That kind of care isn't seen much in this day and age, leaving bands to cram an entire album recording into weeks. When Noud Smeets releases "Nothing But Everything Will Remain," he will have the opportunity to do something that few others can. He can hear the finished product, and say that he is happy with the scope of the album, rather than just saying it is "good enough." And that makes all the difference.

9/10

Official Site - http://www.noudsmeets.com/ (Under Construction)
Reverb Nation - http://www.reverbnation.com/noudsmeets

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Stratovarius - Infinite (2000)

In the year 2000, well known symphonic power metal band, Stratovarius, released one of their most amazing albums of their career, entitled "Infinite." This album put them on a whole new level, and really separated them from the other bands. This being the bands eighth studio album, hit high on the charts all over the world.

The opening track, "Hunting High And Low," is one of the bands most well known songs. This gorgeous masterpiece has everything a power metal fan dreams of and more. The synthesizers and guitar riffs in the beginning immediately grab you with their catchy melody. It's fast, upbeat music that is sure to get you pumped. Constant snares will have you bobbing your head from start to finish, guaranteed. Lead vocalist Timo Kotipelto, shows off his pitch and multi-octave climbing voice as he soars higher and higher from verse to chorus. His reach for the high notes is most impressive. As the refrain hits, the lyrics that he belts will rush through your brain, triggering you to sing right along. The double bass pedaling fills the background with just enough kick to knock you on your ass.
When you do finally move on to the next track, you're going to run into "Millennium" which is booming with more double bass combined with shattering cymbals throughout the intro. The guitar riffs are filled with melodic build up, getting you ready for the symphonic chorus. By the time you're done with this album you're going to know the words to every song. They're all just so likable.

Things slow down with "Mother Gaia," as more orchestrated instruments enter quietly behind Kotipelto's soothing vocals in the opening verse. Basic piano riffs and drum rolls are accompanied by beautiful strings which really place the vocals higher to focus on. Now there is a little more to this 8 minute ballad. About four minutes in comes a cheerful little piano part that really mixes up the imagery of the song. You'll also find some amazing drum fills following this part that will blow your mind. Jorge Michael is an absolutely incredible drummer. Definitely make sure you catch all the little detail that he puts into the album. The bridge consists of crying guitars which are layered with angelic piano parts and really bring the rest of the instruments together as they all fade out in the end.

Electrifying guitars come flying back in as "Phoenix" rocks you with its energetic melodies. The vocals switch back and forth between clean and operatic all throughout the verses and refrains. The drums are like machine guns during the build up to the chorus as they shoot off rapid kick and snare patterns. There's even some heavy guitar chugging about three and a half minutes in which will really make you want to throw your devil horns in the air. This is followed by an astonishing guitar solo as lead guitarist, Timo Tolkki, shows his scale demolishing skills. And if you're looking for more of this then you'll love "Infinity." It's a nine and a half minute epic masterpiece that starts with overwhelming drums, symphonic strings, and a beautiful choir. The build up is just incredible and will have you at the edge of your seat, waiting for the song to drop. The verses start out slow, but quickly build up with speed. Its amazing to hear the kind of notes that Kotipelto can hit. He's got a very similar reach to Tobias Sammet of Edguy and Avantasia. The strings throughout the song consume you into the music as the guitar solo jumps in and completely tears you apart. You'll also notice a lot of unique drumming. The patterns change up so frequently keeping you hooked the entire time. The structure of the song is magnificent as the style changes often and yet keeps the tone similar throughout.

If you're new to the power metal scene than "Infinite" is definitely the album to start with. Stratovarius has come along way since this album and have been consistent in releasing phenomenal albums year after year. This is, however, one album that will always stand out above the rest. So make sure you check it out!

10/10

Official Site - http://www.stratovarius.com/
Myspace - http://www.myspace.com/officialstratovarius

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