Static-X - Machine

A wall of death, surrounded in electronic circuitry as various fragmented visions of dance halls and killer machines with razor blades dancing around you head while you get to enjoy the show.

That is, essentially, why "Machine" by Static-X is a great album.

Released in 2001 in the height of the both the nu-metal movements as well as the industrial metal movements of the late-90's that demanded that the genre change, Static-X was lumped in with the former rather than the later because, in the end, they were just too metal for the industrial crowd at the time. Still riding high off the success of their last album, "Wisconsin Death Trip", Wayne Static continued on his journey of creating the ultimate "dance-metal" album, and on here we see him come close to that dream.

More like thrash anthems in a time where there seemed to be none and, to some, "not cool", songs like "Get to the Gone" and "Permanence" bring out the anger and range amidst a wall of sound similar at times to that used by Devin Townsend. Coming from me, that is the ultimate compliment, and these songs easily warrant it.

"This Is Not" is the biggest highlight on the album, and, yes, you can dance with to it easily in either a mosh pit or in a night club... although, to quote Motorhead, if you did "you might just break your neck to it!" The overall dance beat is adamant throughout the entire song, and the guitar riffs are just incredible! The amount of anger and aggression in it, mixed with some pop sensibility... its just amazing! Imagine Atari Teenage Riot... if they did more metal.

Even when the album tries to be a bit more commercial with tracks like "Black and White" and "Cold", the album works incredibly strong, although if you're like me, you can only chuckle as Wayne Static tries to "sing" on the later of the two songs.

"A Dios Alma Perdida" closes the album on a very smart note; a sort of cool-down song after kicking your ass for the rest of it, giving you a chance to soak everything in with the harsh industrial aspects mixed with a very light and airy keyboard at times, and the use once more of the "wall of sound" is very smart and well done.

Clocking in at a little more than 40 minutes, you are getting more than your money's worth on this album. This is Static-X at their peak, the single BEST Static-X album ever and the one most worthy of your time and effort.

This get's a stunning 9.2 out of 10!

Megadeth - Endgame

Without a doubt, this was the single hardest album review for me to write.

I bought Megadeth's "Endgame" during the first month. For me, that's pretty rare; I actually tend to get it the day of the release. The main reason I held out was because of the lead-single off the album, "Headcrusher". I actually came close to just outright hating this song. To me, it was nothing more than Dave Mustaine doing some good guitar work, but destroying it with lyrics about getting your head crushed by some machine. It sounded a lot like the idea for "Thumb Hang" by Anvil for me.

On the first listen to the album, and by far the biggest flaw of the album, is the fact that you can virtually cherry-pick the riffs on this album from all of Dave's past work. Some "High Speed Dirt" mixed in with "Take No Prisoners", and a touch of "Mastermind"... basically a little bit off all of Megadeth's albums up to 1992. It was hard to get into these songs at first since I could basically play "name that riff".

That was then... this is now.

The best thing about this album is how quickly it actually grows on you. I wanted to start this review honestly, because as much as I love Dave for all he's done, I think it wouldn't be right to not acknowledge the flaws. But those flaws are actually minor in the end.

What you have is Megadeth not going back in time, but just releasing the album that was being built up since 2004's "The System has Failed" when Dave first came back to the world of metal. Every album since then has seen Dave and Co' step up their game and write fiercer and tougher songs. After 2007's masterpiece, "United Abominations", an album that rarely ever left my CD player OR my MP3 player, ANYTHING would fall in comparison to me on the first few listens.

The album starts of with "Dialectic Chaos", an instrumental in the vein of "Into the Lungs of Hell", but with an action-movie feel to it. It feels like this song could be theme song of "24" or Die Hard! Not only that, but the way it blends so well into "This Day We Fight!" is simply BRILLIANT! For all 3 minutes and 27 seconds, you're rushed through a nightmarish landscape of a battlefield, left to destroy the enemy "for what you believe". The same man who sung about the evil of men "turning plowshares into words" now cries out that we will "no longer turn the other cheek like a coward!" *Sniff* Our little man has grown up!

For more political intrigue, you have the title track "Endgame", a slow-moving, eerie, and electric track, based on the movie by Alex Jones. For those of you who don't know who Alex Jones is, he's a conspiracy theorist who believes the US Government was behind 9/11 and that the NWO is real. "Endgame" deals with a dystopian situation where all the nightmares explored in the movie come true and you must have the mark of the beast to live, and without proper ID a "legal US citizen can go to jail." But that's just silly! Wait, what's that about Arizona demanding papers to prove... you... oh.

Some of the best thrashers in 20 years are on here as well! "1, 320" is about drag racing, while "Bite the Hand" thrashes around with the best of them!

And "Headcrusher"? I take back every bad thing I said about it. It is BRILLIANT. The more you listen to it, the better it gets. It's a lot like "Crush 'em" only... well... BRUTAL!!!!!! Hell, if you don't wind up beating the crap out of someone while listening to it, you most likely weren't paying attention to it!!!

The album closes with "The Right to Go Insane". The dual guitars open the song with a setting sun and a man simply on the edge thanks to the economy going to pure hell. "How will I fact the day tomorrow/ If I can't Make it through today?", pleads Dave as he deals with staggering bills and a job that makes life tougher.

This album is great. To me, a great album is a lot like a great wine: It gets better with age.

The main reason I resisted writing a review for so long is because the hype around an image can easily blur how good the actual album itself is or isn't. Too often do reviews come out about an album is first released and is just a ringing endorsement and very little else. The album has been able to hold up easily on its own, and I dare say that, yes, it is better than "United Abominations". For me, on first listen, it had to compete against that, and the fact that one of my main loves of the album and this band is the political bent of it. Despite being disillusioned at first, they proved me wrong and I'm glad they did.

Folks, get this album. I'm giving it a 9 out of 10!

Sacred Reich - The American Way

It is a crime against humanity that not many people know about this album.

Released in 1990, Sacred Reich released this album at the highest peak of heavy metal before Nirvana reshaped the world forever. Spending the 80's as basically a straight-out thrash metal band, the band grew their sound at the dawn of the new decade by throwing in influences from everything they could; metal, funk, punk, jazz, and even rap. The result? The most potent and lyrically relevant album the band had ever released.

"The American Way" is a potent look at America in a post-Regan world. The title track contains the lyrics, "Lady Liberty Rot's Away" and screaming about "The poor are left to help themselves". The song pounds away with a ton of groove and melody, yet is insanely fierce! Thrashers like "Love... Hate" and "I Don't Know" are as true to their thrash metal roots as possible!

But the amount of groove on this album dares to even rival Pantera at times. "Crimes Against Humanity" crawls without getting boring or repetitive, with the band coming at you like a jackhammer as it pounds some sense into you about the horrors going in the world around you.

The albums best moment comes in about half-way through it with the song "Who's to Blame". Dealing with the censorship movement of Tipper Gore and the PMRC, which resulted in the Parental Advisory sticker, as well as the two suicides that were blamed upon the songs of Ozzy Osbourne and Judas Priest, the song demands that parents understand that music isn't too blame, but that the problem may lie in themselves.

This masterpiece of metal closes with the song "31 Flavors", urging listeners to listen to more than just metal, but everything they possibly can so that they can see that there's more out there and, well, a whole variety out there.

"The American Way" easy stands as one of the best thrash metal albums of all time, and can easily stand as one of the best metal releases of all time.





On a whole, this thing gets a 9 out of 10!

If you can, get this album NOW.

Megadeth - Warchest

Dave Mustaine has been a very, very, VERY busy man since 2004! Not only has he released 2 new albums since then, but also a comprehensive DVD, a concert DVD, a live album, a greatest hits, founded Gigantour, hired me once (lol), and has been to parts of the world he and Megadeth have never been before!

With such a large body of work, the fact that a massive Box Set entitled Warchest has been released is short of amazing.

As a die-hard Megadeth fan, it is safe to say that I own a good 90% of everything Megadeth has released over it's career. At the same time, I know there is plenty I don't own, especially in terms of those pesky singles, and the very idea of having a box set is short of a godsend. The track listing pleased me due to the otherwise large amount of either rare or unreleased material.

All of the tracks from studio albums are the remixed and re-masted takes from the Capitol Records albums, and sound incredible! Dave has listened to the fans and the tracks represented are the best of the best!

Onto the greatness of the un-released material! I can only assume Mustaine used a bit of spit-and-polish on a few of the session takes, eliminating some of the dirt and scratches when he turned the volume up. Hearing the session take from the "So Far, So Good... So What?"-era Megadeth of "Anarchy/Problems" sent chills down my spine as I heard a spirited band take on the Sex Pistols two best songs. The Casey McMackin demo of "Holy Wars…The Punishment Due" sounded like an early incarnation of what "Washington is Next!" from United Abominations became, and the inclusion of "Go To Hell" from the Bill & Ted's Bogus Journey Soundtrack was a massive plus! Remastered audio was needed and it helped!

In terms of rare released tracks, finally having a copy of "Strange Ways" and "Duke Nukem" was worth the wait for an official copy.

In the end, the best part of this set is Disc 4, a 1991 show from London during the Rust in Peace tour. Hearing the band play live from that time... the only thing I can call that is heaven on CD! The "classic" Megadeth line-up shredding and ripping away at the very fabric that is speed metal, throwing in a cover of "Its Electric" by Diamond Head, proving that Dave did a better version than Metallica... AWESOME! Having decent live versions of "Take No Prisoners", "Lucretia", and "Rattlehead" are something that you really can't compare! The sound in impeccable and it has an air to it that would make you swear it was recorded just last night!

If you have heard tales of a band called Megadeth, of a skull with metal plates on his eyes on metal caps on his ears, a man with hooks through his mouth and a suit and a silk tie, then this is where the legend begins and lives! For those who have not only known of these feet's, but those of a large white rabbit, of wolves turning into women and others who cross the seas, for those who have also met the man behind mask. For the worshipers of the highest metal truth in the land.

My friends, you have arrived.

9.5 out of 10.

Otep - The Ascension

If you love Machine Head, Shadows Fall, Megadeth, Kittie, the Plasmatics, Arch Enemy, and more, then remember this:

Otep - The Ascension: The GREATEST Album You Won't Hear This Year!

That's fairly tongue-in-cheek. For all the "elite" bastards out there ready to dismiss this band, namely the singer, Otep, this album takes those notions, bends them over, and sodomizes them until all that is left is a bleeding anus and the question of "What just happened"?

Otep has been around since 2000. They have gone from a nu-metal group to becoming a leader in the Alternative Metal movement, mixing heavy guitars, poetry and the greatest front woman since Wendy O. Williams.

After 2004's "House of Secrets", the band re-defined their sound, adding more melodies and mixing it in with a healthy does of thrash metal and the then-blossoming Metalcore sound.

On this album, the band has finally come into their own.

As much as it may be blasphemy to some to say, if the Plasmatics had been founded today, this would be the result. The fierce vocal sensibilities of Otep Shamaya has not been seen since Wendy O. graced the stage in 1977, and she has brought the same sensibilities and attitudes that have been missing in the recent rash of female singers. Though it can be argued that Angela of Arch Enemy has one of the fiercest voices in metal, Otep makes her sound like Britney Spears in comparison.

Yes, my friends, she is THAT damn good!

The opening track, "Eet the Children", starts off with her trademark poetry, giving way to a massacre of insane guitars and one scorcher of a song. The album pounds away at your skull, delivering track after track of what I can only describe as the sound of aggression put to music. Not since Devin Townsend have I heard an album with songs infused with so much passion!

The band rips into an Otep-ified version of Nirvana's "Breed", adding a fierce anger and cry that was, after hearing this version, sorely missing from Kurt's otherwise tempered growl. It is enough to give a new generation of fans who may have never heard Nirvana before to simply stand in aw.

Adding a bit of spice to the album is "Perfectly Flawed", a mid-tempo song that nearly seems to be a ballad. Beautiful in it's simplicity, it shows another side of the band. While the snarls are there, the anger top-notch, they are a group of talented song writers. In a sense, it's Kelly Clarkson if she did metal, mixed with some Marilyn Manson, which produces a really strong result.

What more can I say about this album, this band, and this singer? This is an album that mixes the likes of Machine Head, Arch Enemy, even Megadeth, takes poetry, angst, puts it into a blender, and gives you this! It is an album that will leave you speechless and make you take a second-look at this band.

This is a 9.2 out of 10!

BUY THIS ALBUM!!!!!

Exodus - Shovel Headed Kill Machine

If you like thrash metal, Anthrax, Shadows Fall, and Municipal Waste, you'll love:

Exodus - Shovel Headed Kill Machine

If your Gary Holt in 2005, your wondering just what the hell your going to do. Your the only member left standing in a band that's been around for over 20 years. Your drummer leaves, your lead singer leaves, and now the only member who's been around as long as you, guitarist Rick Hunlot, decides to leave, too. You just finished touring with Megadeth for what is your most successful album in nearly 15 years! It's just you and your bassist. What is a man to do?

What else? KILL EVERYTHING!

Exodus, now spouting Paul Bostaph on drums, Lee Altus on drums, and manning the vocal helm Rob Dukes, immediately demanded that you know one thing; There will still be blood upon the stage, for you WILL bang your head upon the stage!

"Raze" kicks the album off with a devastating attack! "Burn this motherfucker like a roman candle, burn it straight to the ground!", screams Rob Dukes! As Paul Bostaph drums harder than he may have his entire life, Holt brings to a head that classic Exodus sound we all know and love!

The albums contiues to slaughter anything in it's way! With tracks like "I Am Abomination" and "Altered Boy", the hits just keep on coming! In particular, "Altered Boy" has some potent lyrics, namely dealing with the Catholic Sex Abuse Scandal. Then you come to a track like "44 Magnum Opus" that is just hammering!

All in all, there isn't much that I can say about this album. I hated it the first few months I had it, and that was largely due to the fact that, for me, Souza WAS the voice of Exodus. I think a lot of people feel the same way. Losing him, especially for me, didn't bode to well for the future of the band, and the initial resentment I had for Dukes is now, finally, gone. Sometimes, I think it's safe to say we all judge something for what we think it could or should be, and not for what it is.

This album is a hard-hitting album that is warranted to some heavy repeated listening. While not perfect by any means, it is still incredibly heavy and a solid disc. It isn't exactly a "OK, this is just to get us over the hump" album; This IS a full-on metal assault!

BEWARE THE SHOVEL HEADED KILL MACHINE!

7.5 out of 10!