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!

Shadows Fall - Threads of Life

2007 has been nothing short of a banner year for metal! With new releases from Megadeth, Overkill, Behemoth, Municipal Waste, Machine Head, and countless others, we've seen a year not matched since 1986 in it's sheer intensity, ferocity, and excellent metal albums!

So when all is said and done, and we look at what Shadows Fall has not only done this year, but in their 10+ years as a band, it is safe to say that they while they got the memo, they weren't able to fully deliver.

It is with a heavy heart that I must say "Threads of Life" was one of the disappointments of 2007, but that doesn't mean it wasn't a good record!

Threads of Life marks the major-label debut of Massachusetts metal outfit Shadows Fall. After breaking through with The Art of Balance and a 2003 Ozzfest appearance that thrust them to the front of the blossoming Metalcore movement, they followed with The War Within and Fallout From the War. Like any respectable metal band, they wanted to assure everyone that they would not compromise their style with the new bucks and support that came with their new deal.

The result is a 20-Ton Hammer that simply will not relent and rests only once to let you breath. While normally this is a welcomed thing, we are left in a sea of little or no change in style, tempo, or riffs. While many will simply lampoon Slayer for writing the same song over and over again, it is Shadows Fall who have actually come very close to it.

The album opens with the track "Redemption", a hard-hitting track that riffs away with no remorse! By the time you get to "Venomous", its hard to say just how long you have been listening to this disc, save the incredible track "Stormwinds". In fact, Shadows Fall even includes a ballad with "Another Hero Lost". Oh say it isn't so? It is, but it is done quite well!

In the end, you have a disc that you can tell was forged in raw steel, and the cooling period to set this metal to use did leave a few too many dents and dings, not leaving it pure enough. Nevertheless, this is a solid disc and a solid effort. I have said similar things about "Demigod" by Behemoth and "Among the Living" by Anthrax, and despite my opinion, I was either proven wrong or right on just how much is too much.

I give this disc a 7.5 out of 10!

Overkill - Immortalis

IMMORTALIS. The name is literately Latin for Immortal. It is safe to say that in the history of metal, few bands can claim that title as well as the Wrecking Crew themselves, Overkill, can!

It's rare to find an album review of Overkill that DOESN'T mention their past, and I think its due to both their legendary status and the pride one gets of telling their story that does it, mixed with the fact that too many "metal heads" out there ready to wear their Avenged Sevenfold shirts don't realize just where the hell that Bat REALLY came from!

Overkill can technically be called the worlds first Thrash Metal band, largely because of the fact that not only were they formed from a punk band in 1980, but wrote "Grave Robbers" (later called "Raise the Dead") before even Lars met James and Dave in LA. Since then, these New Jersey rats have pounded out album after album, with so far a grand total of 15 studio albums, 2 live albums, 2 EP's, a few greatest hits, and an album of covers.

OK, now that you've been Old Schooled, it's time to learn the Skull and Bones of this release!

To say this album is "business as usual" is a slap in the face to the band! After riding high in what I can only call a comeback, we see Overkill using the rise to fame from Gigantour and touring Europe to release an album that is pouring over with some incredible riffs! The album opens with the pounding track "Devils in the Mist", presenting full-force the writing ability that will dominate the rest of the album.

"Skull and Bones", my pick for the track of the album, features a duet from hell with none other than Randy Blyth of Lamb of God! The pairing of the two is simply amazing as the two trades verses and create one hell of a track!

"Walk Through Fire" borrows a riff or two from AC/DC's "Overdose" to great avail and the song simply delights and amazes, offering some groove metal moments. Tracks like "Hell Is" and "Shadow of a Doubt" offer some awesome moments as well.

All in all, it's a great, solid disc. It's one of the better albums they've done in the last 10 years, without question, and is part of the overall trend of increasing quality of metal albums recently.

8 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!!!!!

Judas Priest - Hell Bent for Leather/ Killing Machine

"HELL BENT! HELL BENT FOR LEATHER!" Such is the common refrain of metal heads around the world who worship at the alter of one of the greatest metal bands of all time, none other than Judas Priest. It's tough to find anyone into metal who doesn't know the words to most of the title track, and quite frankly, it's something that has transcended even genre as those who don't even listen to heavy metal could just as easily scream the refrain from memory!

Now, nearly 30 years, after it's release, I take a look back at this album.

The album opens up "Delivering the Goods", a track that introduces the Judas Priest sound of pounding drums in sync with the hard-hitting drumming that Binks has been delivering since Stained Class. You have the anthem tracks like "Take on the World", and arena-rock track that pounds and pounds and can inspire anyone to achieve victory!

"Burning Up" is yet another track that stands out on this disc. As Rob and K.K. Downing and Tipton start the build, the song finally explodes with Rob singing, "We've got to make love/ We've got to make love tonight!" "Running Wild" may have influenced a few aspiring guitarists with the pounding opening riff, giving way to the smooth-flowing guitar harmonies that flow in and out of the song!

But of course, the highights are many! "The Green Manalishi (With the Two-Prong Crown)" stands as a classic, despite actually being a... shudder... Fleetwood Mac cover! Damn it, who knew the Mac were so damn metal? And the title track, "Hell Bent for Leather"... the track could rip you to shreds and make you demand seconds!

Without a doubt, Hellbent for Leather stands as a definite classic of not just Judas Priest, but heavy metal in general. Honestly, I was shocked to find myself enjoying this, largely because of the fact that, at least for me growing up, the early material of this material was dubbed by many as not that good. The album stands the test of time, and has gotten a bit better with age as now it stands heads and shoulders above many.

Yes, this album does rock hard!

This album gets a 8 out of 10!

Kreator- Enemy of God

Kreator- Enemy of God

There's something I want to point out: This album came out Janauary 11, 2005. That's my 20th Birthday! WHOO-HOO! I didn't even know who Kreator was then, but one listen to this album a few months later... Well, I'm getting ahead of myself.

This is a tough review to write because it's just damn close to something that doesn't seem to be explained. As I write this, it's widely is considered to be a masterpiece, and possibly the greatest Kreator album ever recorded. But why? Why is this true? Because the title track alone makes this album a must-have. What better way to kick off an album than with a thunderous assult of guitars and drums, all the while screaming "Enemy of God" at the top of every chorus? The song is even catchy, if you can believe that!

This album is mostly politcal, something not new to this German-Thrash outfit. And, yes, that was the cheesiest thing I could write, but it's 100% true, they're not afraid of political subject matter. That is plainly evident on "Suicide Terrorist" where they cut down to size the ego and ideologically behind what a suicide terrorist is and does. "Voices Of The Dead", "Impossible Brutality", and "Under A Totally Blackened Sky" deals with war, each one giving a harsh view on the futilities of it. "Murder Fantasies" is exactly as it seems; Someone dealing with their emotions on how they wish someone was dead.

I know this review is a bit thin, so let me try to explain why exactly you should get it; This album takes the same thrash metal started 20 years ago and takes it to the new millennium. The production on this album is just incredible, and the writing is top-notch. It's a remarkable experience to hear this band and this album. Admitedly, there are some moments that seem to just sit there, but the album just has a remarkable flow to it!

4.2 out of 5.

Metallica - Creeping Death-Jump In The Fire CD EP

Metallica - Creeping Death-Jump In The Fire CD EP

OK, this is a bit of a cheat: This isn't an album, it's 2 singles, and it's officially released as the "Creeping Death" single that happens to include the "Jump in the Fire" single. But for the sake of argument, we'll call it the "Creeping Death EP".

That said, I'm not only lucky to have this, but I'm glad I listened to it.

The average metal fan most likely owns every single Metallica album. Or, at the very least, all the one's they did up to The Black Album. We tend to take them for granted, giving them a listen once in a blue moon. It may have been the starting point for most of us, but it doesn't mean we listen to them every single day.

This EP basically reminds you why Metallica is considered legends; Because they know how to write damn good songs!

A quick listen to the opener, "Creeping Death", is refreshing; There is a warmth to the EP that you won't find on the album, one that I can't truly describe. But within the CD format of this EP, the song takes on a new life! The furious guitar intro, the venous tongue of Jame Hetfield, Lars Drums, Cliff Burton's Bass, Kirk's insane solo... They're all the hallmarks of this song.

Following up are the covers of "Am I Evil?" by Diamond Head and "Blitzkrieg" by Blitzkrieg. The recording levels of both songs differ, with the later being louder than the former. It's interesting to hear them on the EP for no other reason then to reflect upon how people 20 years ago must have felt when they heard this when it first came out. But the intensity, the skilled playing... all of it is there.

The main feeling of the entire EP is just a nice warm feeling that you wouldn't normally find on a CD. It isn't something that can be described easily; it boils down to what people must feel when they compare the sound of vinyl to CD. But this was made in a wonderful time, before when even CD's made today had the high-gloss digital-sheen. The feeling of Vinyl can be found here, and it is beautiful. By the time "Jump in the Fire" comes on, it feels like 1983 again!

The last two tracks, "Seek & Destroy" and "Phantom Lord", were alternative studio takes over-dubbed with a crowd, but they sound incredible! It's about as close to hearing a hi-fi version of them playing live in 1983 as you may get.

All in all, great EP!

4.5 out of 5!

Darkthrone - The Cult is Alive

Darkthrone - The Cult is Alive

If you read this column regularly (and I hope you do!), then you'll remember that I said that a record store liquidation can offer a chance for someone to discover bands and albums they never would normally touch. I picked this album out because someone I know fairly well from a message board had this album cover as their avatar. So seeing it in the store, I was drawn to it.

Black Metal. A genre born in England by Venom, more or less as a self-defecating joke, taken to insanely extreme and serious levels by Norwegians (for the better, I might add!), tends to get too serious at times, neglecting it's very roots. These roots include Venom, Black Sabbath, and even Blues. The Norwegian Black Metal scene has spawned an unholy union of all these, mixed in with the culture of it's surroundings. The saying is true; All art is a reflection of the times and world it is created in. Thus, a dark, foreboding genre of music is created.

I wanted to give you the history lesson because this album actually shows some respect to Venom in terms of style, and I had more fun listening to this black metal album than anything else released in the last 15 years! Yes, it is dark, it is very, as you kids say, "grimm", but it doesn't wallow around in itself. If anything, that annoys me to no end! It can be nice to get lost in an album, but not bored, and this album does nothing even close to that!

"The Cult of Goliath" instantly shows what I was talking about. To a point, I dare say there is some punk influences mixed in there (a-la Venom), continued on "Graveyard Slut", almost taking on a more Misfits-style. That is, if The Misfits played Black Metal. "Underdogs and Overlords" is more traditional Black Metal fare, the lyrics immediately taking stranglehold on the song while the guitars and drums pound away to a heavy black metal beat.. but sped up to a nice level to keep the album consistent! On the flip side, a listen to "Tyster På Gud" will make you think you just put on an album written by Black Flag.

If anything, this album shows that reinventing one's sound is not the worst thing in the world. It's hard to find many flaws in this album, although I'm sure their diehard fans who have been with them through all 11 albums will disagree. But for me this is my first album by the band and I plan on getting some of their older stuff.

This is a must-have album, and definitely one of the best black metal recordings in a long time.

4.5 out of 5!

Hanzel und Gretyl - Scheissmessiah!

Hanzel und Gretyl - Scheissmessiah!

FUKKEN UBER! If there was ever a band I was excited about because no one has heard of them, this is it! THIS is the band people need to start listening to because they just plain rock! I felt the same way about Mastodon in 2004, so that should tell you something right there! As an added bit of trivia, one of the former members of the Cycle Sluts from Hell, Venus Penis Crusher, aka Betty Kallas, is now Vas Kallas, the co-founder of the band. One listen to this album should shut down any rumors that the Sluts couldn't write a song, let alone play their instruments. But that's another day and another review.

Today, we are going to review Scheissmessiah!, which was released in 2004. Opening the album is a nice mellow track called "Lust". It mixes soothing, almost new-age sounds with a speech from some Evangelical preacher going on about hell. This, of course, is followed by "Fikk Dikk Mit Fire". This song barrels like a locomotive with pounding guitars, intense drums, and a chorus with a hook that is impossible to find anywhere else in Industrial Metal! Vas Kallas, the female singer, tears away at the track with a sample of a croud chanting behind her. It all reaches to a fantastic track, and a must-have for anyone who likes metal.

Taking a sample from "Ride of the Valkyries", "Kaiser Von Shizer" shoes what the rest of the album is; incredibly heavy industrial metal mixed in with a good sense of humor and some intense moments! The album isn't a non-stop serious-fit, nor is it a comedy disc. It's more the former than the latter, and it works to great dynamic appeal. The guitar work on this album is great and intense. The album pushes toward thrash and speed metal at times, otherwise sticking to indutrial stylings. The samples and effects are used to the same effect as the most skilled White Zombie tune. A track like "Burning Bush" is great for highlighting the humor of the band, specifically the samples of both a woman moaning and some rapper going "1,2,2,2,2,23!" On the opposite end, "Scheissway to Hell" is an example of dynamic songwriting by the band, showing a great ability of songwriting as well.

As for another headbanger, "And We Shall Purify" is definetly up there! As much as the reference is a pain to mention, yes, the band is similar to KMFDM in it's approach, but they take it to a level they can't, and that's just plain Fukken Uber Fun!

It's hard to nail down certain songs that stand out, and that isn't necessarily a bad thing. It's an album you put on and you can enjoy it. It's not a bloated 72-minute epic, it isn't something that wallows in itself trying to find itself. It's an album that is going to make you laugh with Nazi imagey, great German lyrics, and an entertainment level that's incredibly high. Your not going to get bored and your going to agree when I say it's a great album.

4.2 out of 5!

Queensrÿche - Operation: Mindcrime

Queensrÿche - Operation: Mindcrime
I hate prog-metal.

My god, there... there is nothing in the world of metal I can think of right now in terms of a music genre I hate more than progressive metal. A bunch of musical snobs going on and on these long intriguet patterns and amazing technical skills, most of them proving they could hold a candle to Vyngviem Malmstein. The reality is, the genre can bore people to tears and the only thing "progressive" about the genre to me is that they can find people who find it interesting, let alone entertaining.

That is the reason why Queensrÿche's "Operation: Mindcrime" is one of the single greatest albums in the history of not just metal, but music as a whole; It may be progressive metal, but it is a damn good album!

When I bought the album last year after hearing rave reviews for it, I was more than skeptical because of everything I just said. That, and albums rarely ever live to the hype I constantly hear being given to them. To me and others my age, we never had to sit through countless days of hearing or seeing the video for a song like "Eyes of a Stranger" a million times, so the band and album can be seen through my eyes as fresh as it was when it first arrived. Concept albums can either rise to the occasion or simply fall flat, the later of which happens a good 99% of the time. This is the exception that proves the rule; an amazingly recorded and executed orchestrated 59 minutes of pure genius!

Opening with the introduction of Nikki, the album's protagonist, waking up in a hospital bed in "I Remember Now", which leads to the "Anarchy-X" where cries of a revolution are heard, leading to "Revolution Calling", creating on of the greatest openings for an album ever, and setting the scene for the rest of the album. Simply put, if you hate these songs, turn off the album and call yourself lame.

The album may have taken place in the Regan-era America, but the album still holds true today,if not even more so. It is simply incredible and mind-boggling to hear Geoff Tate scream "I used to trust the media to tell me the truth, tell us the truth / But now I've seen the payoffs everywhere I look / Who do you trust when everyone's a crook?" in "Revolution Calling".

As the album creeps into "Operation: Mindcrime", you are now slowly learning just what happens to Nikki; he is being brainwashed to commit murder on the enemies of Dr. X.

Taken from Wiki:

The album begins with the protagonist, Nikki, lying in a hospital bed, having a flashback about his past. He remembers how, as a heroin addict, he was mesmerized to join a secret network of rebels who work for a person named Doctor X. As he joins the coup, he becomes hypnotized into a state where when Dr. X says the word "mindcrime", Nikki becomes a puppet on a string (akin to The Manchurian Candidate) to commit any murder Dr. X assigns to him. Dr. X offers a return to Nikki: Through one of his friends, a priest called Father William, he offers Nikki the services of a hooker-turned-nun called Sister Mary. (Details are vague whether these services are sexual or simply emotional.) However, through Sister Mary, Nikki begins to turn back to an emotional human being. Dr. X notices this and, seeing a potential threat in Mary, he orders him to kill her and the priest. Nikki visits Mary, he kills the priest, but fails to comply with the order to murder Mary. He decides to quit the operation and goes back to Dr. X to tell him. X, however, reminds Nikki that he's a drug addict and X is the only one who can provide his daily fix. Nikki returns to Mary, only to find her dead. He can't cope with the loss and succumbs to insanity.

The police, arriving on the scene, find him with the body and arrest him. Since he's in a near-catatonic state, he's put into a hospital, where he starts to remember…

Honestly, there is no better way to explain it since it does it perfectly.

The albums is a non-stop tour through that story, with highlight tracks including "Speak", "The Needle Lies", "Suite Sister Mary", and of course, "I Don't Believe in Love" and "Eyes of a Stranger", the albums two catchiest tracks. If you don't find yourself humming one of those two out of nowhere after hearing this album, you can't be human.

4.9 out of 5!

BUY THIS ALBUM!

Operation: Mindcrime (2 CDs + 1 DVD) [DELUXE EDITION]:

Earlier this year, EMI released a Box Set of the album, which included a live disc of the album, recorded in 1990 during the tour for the album. They played it in full live, and it is pratically flawless! It is almost just like hearing the album, only with the added benefit of hearing the crowd get involved, as well as the many flourishes of a live show, like the occasional speeding up of the tempo. Hearing Pamela Moore belt out the parts of Mary live dares to rival hearing it on the album itself!

4.8 out of 5!

Iron Maiden - A Matter of Life and Death

Iron Maiden - A Matter of Life and Death

Bruce Dickinson's voice is shot to hell.

That was the first thing I thought the second I heard "The Reincarnation of Benjamin Breeg" on the radio. The Infamous "Air Raid Siren" had gone down to kids whistle, but honestly, can you blame him? Ol' Bruce-Bruce is pushing into his 50's and he is, without question, one of the greatest forces in heavy metal. The man is a god-damn workhorse and sings the same songs night after night after night for over 15 years, the last 5 being the big return. But, in an odd way, the voice may be shot, but it is far from dead!

The guys in Iron Maiden have said over and over again how happy they are they didn't go out and get it "polished", leaving a more "raw" sound. That had me incredibly excited, but the result is a deeply-flawed mix. You can hear the guitar feedback at times during songs, and at times, it seems that Dickinson's vocals were recorded without him even hearing the song, most evident on "Brighter Than a Thousand Suns". I constantly felt as if an old audio clip from the 50's, namely a famous sound bite that said those exact words, would pop-up.

But that's not to say this isn't a good album. I always say that it's hard to critiquie new albums by old bands because there are two reviews and points of view that effect it; The album in and of itself, and the album in terms of the overall discography of a band. There is always a need, I think, on the reviewer of the album to give a new album by an old act the respect either the band deserves or the album deserves. If someone were to say, for example, that the latest Vader album was horrible (I don't know, I haven't heard it), they would be deemed "un-tr00" by the metal elitests and it would be hard for anyone to respect him ever again.

That is why it's hard for me to be honest as I want to about this album. I may have made it seem to this point that this album is horrible, but it is, without question, an actually decent album. It's something very different from this band, and it shows, and I'm sure Steve Harris is going to kill me for this, but it shows the band aging and growing more mature. It may not be as heavy as Dance of Death, but the overall feel is simply that of a band getting ready to hit it's twilight years and actually enjoying it by putting out decent albums.

Iron Maiden has had 3 guitarists since 2000, but this is the first time that they have used them all to create interesting dynamics. I noticed that immediatly on "Different World", the album opener. Behind the vocals of 'ol Bruce-Bruce, you can hear an angelic 3-guitar harmony, and a guitar tone that has become the bands signature for the new millenium. The song is brief at only a little over 4 minutes, and is one of the most dynamic songs on the album. In all honesty, this should have been the radio single, not "The Reincarnation of Benjamin Breeg". On "These Colours Don't Run", the guitars are used to a very good effect, reminding me of a mix of Dance of Death meets Seventh Son. Incredibly patriotic and a song of having pride, not only in your country, but also the causes you may live and die for. Nicko's drumming is still top-notch, folks!

For all that I said about it, "Brighter than a Thousand Suns" is actually quite incredible! This one may become a permanet piece in the live shows, if we're lucky to see them for a godo 2-hours every night. It is the stand-out track of the album. If any of these songs live on as a must-have, I would have to say this is it. I don't like the vocal mix at times, but it is something that grows on you. It is incredibly well orchastrated, and it has more of a feeling of classical music than metal. A ton of work, thought, and effort went into it and you can tell. This song examples everything great about the band in it's new form; the use of all three guitarists to create incredible dynamics, Nicko's drums working to complement them, Steve's bass working in harmony with the rest... and Bruce doing his damnest. I'm sorry, but Bruce's vocals are just plain shot and it's painful at times to try and find good in it.

If I was to tell Bruce anything, it would be to use the voice he has now to create a new sound for himself instead of trying to act as if he still was 25. It's deeper now and that could create an even more dynamic sound if utialized right. "The Pilgrim" does just that and it works great for it! Short and sweet, this and "Out of the Shadows" demonstrates that the band isn't too old to create hard-rockers from here to there. The dynamic tracks work to great effect with "The Longest Day" building to a decent track with an incredible chorus. It simply works because this is exactly what Bruce should have done on "Brighter than a Thousand Suns", and that is work with the voice he has. It just fits perfectly in here!

"For the Greater Good of God" does seem like "Dance of Death II", but not even an ounce as boring. Where Dance would simply wallow, this sond gallops and demands to know "Well tell me now what war is/ Again tell me what life is"! How all of the harships of war are for "The Greater Good of God". It's equal to "Brighter Than a Thousand Suns" for being THE song to keep, mainly because the vocals are greater and the harmony is brilliant. Again, orchastration wins out and the song shines for it. Oh, and those little bits where the guitars and drums hit at the exact same moment... simply brilliant!

"The Reincarnation of Benjamin Breeg" and "Lord of Light" have things working for them, but they simply fall flat in the whole of the song and the album, resulting in a feelig of more filler tracks or attempts at trying to go back to their older songs. It's a shame, really.

But it is the album's closer that creates the feeling I said before, that of a band getting ready for old age and growing more mature. I can't help but see Bruce getting ready to sit into a rocking chair to sing a song for me. The guitars swell nicely, the band working in a very nice harmony. I think this song could be a pre-courser for the next album, a glimpse in the direction the band is getting ready to go to. The guitars and drums work in synch at times, and the guitars galloping with the drums are a very nice touch, with a very nice guitar solo in the middle. The ending of the song is very peaceful and, although it's over 9 minutes long, you'd swear it was much shorter.

I see a more dynamic Iron Maiden forming, one mixing all that they have learned in the last 25+ years into a force to be reckoned with, the likes of which we have not seen in nearly 15 years. This album is something that you will appreciate on the 2nd listen, and one you'll love with some time. This album is like wine and a good cheese; it taste's better with some aging, which is true of Iron Maiden.

This is a 4.2 out of 5 disc, and one that should be in your collection.

BUY THIS ALBUM!

Static-X - Wisconsin Death Trip

Static-X - Wisconsin Death Trip

Back in 2000, I was in Wal-Mart for the first time in my life. I was standing around while my parents were checking out and saw two CD's by a band called Static-X, Machine and Wisconsin Death Trip. The albums covers looked cool, the CD's were on sale, and I considered buying them but held out. Last year I decided to finally check them out, and god-damn it, I'm glad I did!

The band has often been declared "nu-metal", and thus the label, "lame", has been synonymous with it. That's only due to the fact they came out in 1998 during the time when it was the only label new metal bands could get, and it doesn't do them justice. The sound is more akin to what Ministry was being declared to be and only achieved on the last two albums; Industrial Metal with some insanely heavy and catchy riffs.

The album kicks-off with, hands down, the single smartest metal lyric of the late-90's; "I See It/ I NEED IT". The lyric, in those 6 words, are the sheer embodiment of the current generation; The see it, want it mentality that we have, the same idea of rampant, almost mindless consumerism that embody most of us. We live in an age instant gratification, and as soon as we see an item, it's no longer a want, it's a need. And we must fill that need. For that, "Push It" stands as one of the greatest metal songs ever.

The songs about love and relationships makeup some of the most dynamic tracks on the album, as well as some of the most unique songs that can actually are entertaining. Most notably, "I'm With Stupid" is among the single zaniest tracks I've ever heard, the sample of the news report of the woman saying "I grabbed my shovel, and I beat him in the skull and took him down. Then I grabbed a rope and I hogtied him." adds a dynamic that is simply amazing. "Love Dump" has a very high-pitched guitar riff going through it, and it's used to perfection.

The album closes "December", a track written by Wayne Static's and Ken Jay's former band Deep Blue Dream. It would, in a sense, almost seem out of place, but it actually sits perfectly with the rest of the disc, creating a nice melodic, relaxing end to an incredibly intense album.

If there was ever an album from the mainstream late-90's metal movement for me to recommend, this would be it. If you either never heard it, or haven't heard it in a long time, it's perfect to rediscover!

4.7 out of 5, this album is great!

BUY THIS ALBUM!

In Flames - Come Clarity

If you enjoy Shadows Fall, Lamb of God, Killswitch Engaged, and HATED Soundtrack to Your Escape, you'll love:

In Flames - Come Clarity

Is there anything close to a band returning to their old form? When bands change their sound, it's incredibly rare that they ever return to anything close to what they were once before, save they release an album so god awful they realize they need to go back. Helloween's album Chameleon comes to mind. But this is the closet thing we're getting to "classic" In Flames; a return, somewhat, of the guitar harmonies, wonderfully brutal vocal performances, and songwriting of the caliber that was lacking so much on Soundtrack to Your Escape.

The album opens up on a relatively harsh note; literally. The distorted guitars combined with the drums open up the album "Take this Life" with a feeling of getting clobbered in the head repeatedly! But, god dammit, it works out to be a damn good opening! That takes your life and takes you a sort of "outer-body experience" that leaves you feeling like you have just gone to heaven (or hell, your pick). The dual-guitar harmonies begin to swell and the ferocity returns with every verse, returning to a nirvana-like (not that Nirvana!) state with every chorus. "Leeches" is a combination of old-In Flames, new-In Flames, and some industrial elements. As odd as that may seems, that's exactly what it is, and it works so well!

"Leeches" is a combination of old-In Flames, new-In Flames, and some industrial elements. As odd as that may seems, that's exactly what it is, and it works so well! "Dead End" is a beautiful song! I am, quite frankly, shocked that the result came out so great; a female Swedish pop-singer, guitar solos, dual-guitar harmonies, and death-metal vocals and guitar work. Seriously, In Flames makes this work!

Tracks like "Scream", "Vacuum", and "Versus Terminus" all hail a return to the more thrash/death metal In Flames with the new stuff mixed in for flavor. Then you have the more melodic songs like "Pacing Death's Trail" and "Crawl Through Knives". They sound more like left-overs from Soundtrack, but with the same knowledge the band had back on Clayman.

As odd as it is, my friend has forced me to listen to Top 40 radio and Breaking Benjamin. Most metalheads don't give two shits about them, myself included. So imagine my complete and utter shock when I heard In Flames on the radio. The opening non-distorted guitar part, the overall melodic structure. It was a song so melodic and commercial, I found it incredibly odd and catchy. So imagine my complete and utter surprise when I heard "The Diary of Jane" by Breaking Benjamin. It is the same exact song, save a few technical flairs here and there, a lack of a guitar solo, and the words being changed. But a comparison of the two songs shows you that Breaking Benjamin stole the song by In Flames. That song is the title-track, "Come Clarity".

There is a lot of praise that this album deserves. First and foremost, like I said, it's a close return to form. It is, in other words, the result of old and new In Flames combined; a band that can write some brutal tracks, melodic hooks, guitar solos, and some nice lyrics. Save the incredibly-inane album closer, "Your Bedtime Story is Scaring Everyone", this actually is a great album on a whole. Admitedly, I'm a little hesitant to give even more praise to this album right now because it has the stigma of being so close to after Soundtrack and the album is a bit of a modern-day pop-metal offering than others by this band and of metal in general. I only say pop-metal simply because it actually is popular with modern metal fans, namely kids 13-21. Not that's a bad thing, but... well, fuck, I feel old!

This album deserves a 4.1 out of 5, and a gold star for effort!

BUY THIS ALBUM!

Shadows Fall - Fallout From the War

If you like Thrash Metal, Iron Maiden, Helloween, Death, and Lamb of God, you'll enjoy:

Shadows Fall - Fallout From the War

As I write this, the opening gunshots of Metallica's "One" are echoing through my mind. The sound of guns firing in a darken sky, of grenades exploding near you mere feet away from you... Shadows Fall's latest EP does, on many levels, come close to being as epic as that famous song.

This has been criticized by fans and critics before the album (or EP) came out, saying it was just a collection of scraps leftover from The War Within sessions and a few covers, equating to nothing more than a contractual obligation to Century Media before going over to their new major label. Although that is, to a point, true, it doesn't mean that this isn't a damn good record!

Starting off with "In Effigy", the Fallout begins, creating a landscape lush with melodic trash riffs and the hard-hitting vocals we have all come to love. "Carpal Tunnel" is a laugh riot, as it was written about all the people who hide behind their computers and criticize bands all days long. The truth of it all simply is astounding, no? "Going, Going, Gone" is very close to traditional hardcore.

One of the best things about a good Shadows Fall album is that it gets better and better with each listen, which is exactly the case here. Although I am the first to admit that most of the album feels like filler (Track 2, 3, and 4 all kinda just sit there), they add something to the overall feel of the album and can serve as a great introduction to someone just getting into the phenomenon. Although "Haunting Me Endlessly" is doing just that as I write; The riffage and the vocals sink in over time.

The covers on the second half, sadly, don't seem to add too much to the album other than to pay tribute to the bands that inspired them, save the last two. "Mark of the Squealer", at least to me, is an incredibly controversial pick to do simply because of the subject matter in relationship to modern day society in urban cities. While most kids who live in the suburbs or small towns, the entire "Stop Snichin'" campaign is unknown, but it has basically stopped people in most cities from speaking out against violent crimes. The song is incredibly eerie to me for that reason, but it is still incredibly entertaining.

The closer, a Danger Toys cover, is the highlight of the disc for me. If your like me at all, you grew up when all the nu-metal movement was going on and "tru" metalheads teased or, at the very least, looked down their noses at you for not liking some thrash band you never heard of because, well, you were 5 when they were big. If your like me, that never happened and you wound up liking hair metal in the 90's because it was a part of your childhood you wanted back. Myself? I'm a big fan of the Bulletboys album Freakshow. "Teasin' & Pleasin'" is a simply hilarious cover, done exactly as Shadows Fall should perform it! You can hear the playing as only they could! Although Jason McMasters sounds a little rough around the edges at time, it is a great tune!

Yes, this album gets a 4 out of 5. Damn good disc!

BUY THIS ALBUM!

Arch Enemy - Wages of Sin

If you like Iron Maiden, In Flames, Megadeth, Slayer, and Shadows Fall, you'll love:

Arch Enemy - Wages of Sin

Back in 2001, MTV had Headbangers Ball on every night. OK, take a deep breath and re-read that last sentence. Yeah, I'm serious, they had it on every single night! Only it wasn't called that. The name escapes me but around 2AM - 4AM every weekday morning on MTV2 from about 2000 - 2003 they would show heavy metal and hard rock videos from bands you and I may have never heard of, or of artists we knew and love. In fact, I recorded the first time Lamb of God ever had "Black Label" played on TV. I bring this up because back then (I was about 16 or 17 when I saw the video) I saw a woman who looked amazing and had the single most demonic voice I had ever heard, a voice I did not think was possible for a woman. I remember all the fog and the chains and the strobe lights they used. Angela looked incredibly hot in it too, not bad for someone only 25 at the time. That video was "Ravenous".

Fast foward to 5 years later and I finally got my hands on Rages of Sin. Immediately after putting it on, a feeling came over me that is incredibly rare for anything to do. It was the same feeling I got the first time I heard Iron Maiden - Powerslave, the feeling I got when I heard Testament - The New Order. It was the feeling that I was listening to what is, beyond the shadow of a doubt, one of the greatest metal albums ever made.

God, how many times have I said that? Seven times at least, right? But let's consider this; This is the type of praise I reserve for bands and artists who absolutely fucking deserve it. It is incredibly rare that an album, especially something recorded in the last 5 years, has that type of feeling on me, and it is my duty to let you know why.

I... I can't begin. I can't begin to tell you why you need to go out there and buy this album. It's just common-god-damn-sense!

Although this album belongs in "Melodic Death Metal", I think that's a bit of a mistake. The album has riffs that sound more like melodic thrash metal to me, but that's most likely because of the fact that that's the sound of metal now and this is the album that I think can be traced to, and consider to be, one of THE defining moments and albums of the metalcore movement. I must stress that I know how much of a defamation that term can be to some, but this album could be considered the major point in which it became more acceptable for that sound to be the norm.

Angela added something to Arch Enemy that would have left the band in obscurity, and that is sheer attituide. That... and she's a woman. There are so few women in metal, and most of the time when they are added, it's only as eye candy or because someone is fucking someone else in the band. But Angela actually proves she has a reason to be in the band, and she has a voice that I dare say can rival Randy Blythe's of Lamb of God as the official voice of Hell! Add to that the sonic ferocity of the guitarist brothers Amott and you have the three reasons why this album hails as a favorite of mine!

"Enemy Within", "Ravenous", "Burning Angel", "Web of Lies", and "Behind the Smile" all stand out as outstanding tracks, and there is not a single bad track on this album!

Disc 2, which is just a collection of rare and unreleased tracks, is just OK and I'm not taking it into consideration of the overall album.

This a 4.7 out of 5! Brilliant album!

BUY THIS ALBUM!

Venom - Metal Black

Venom - Metal Black

For some insane, incredibly stupid reason, people who listen to metal, especially black metal, automatically write off Venom. That, despite the fact that they pre-date Metallica and actually fall into the NWOBHM (New Wave of British Heavy Metal) movement. They were formed in 1978 and influenced by Motorhead, Judas Priest, KISS, and The Sex Pistols. Think about that. It's 1978, and Iron Maiden doesn't even fucking exist! The fact that they grew up and worshiped those bands describes them perfectly; A group of showmen with incredible musical talent and a knowledge of shock mixed in with talent. The entire Sex Pistols influence is obvious in the fact that they could barley play their instruments. Considering that without Venom there is no Metallica, Slayer, and essentially, no thrash metal or black metal, I think it's safe to say that this is a band worth your time, especially now.

It's been nearly 30 years now that this band has been around, with Cronos being the only remaining original member. But so fucking what? People bitch and moan about this person not being there or it's only one guy. gain, so fucking what? Metal Black is EXACTLY what Venom is; a Damn good Metal Band!

"Antechrist" and "Burn in Hell" open up the album, and also opens up a damn large can of whoop-ass! The thrash-riffs are a welcome introduction to the first significent Venom album in 20 years. "Rege Satanas" reminds me of older Venom tracks off the first two albums, while "A Good Day to Die" echo's that same sentiment, throwing in more of a Motorhead influence. "Maleficarvm" offers up some a very nice offering of metal might, proving to be brutal in it's attacks!

Admittedly, the album suffers at some points from things like odd tempo changes and odd vocal mixing, such as "Death & Dying", "Assassin", and "Lucifer Rising". That, in and of itself, doesn't actually hurt the album overall. Albums, for the most part, are about hills and valley's, and only perfect albums never have a dull moment. This, I think, is something we're actually losing in this era of lame-asses digitally downloading only the "popular" songs by a band; They're missing what may wind up being some great moments to them.

But back to the album, and the overall theme that is Metal Black. "Darkest Realm" is a song that sounds it was just made to be played live, with the line "Deafening Volume In Power and Black / Light up the skies in an aural attack". It offers up as one of the best songs on the album. Mykvs addition as guitarist is absolutely splendid, and his tenure on this album was simply brilliant! The album close, "Metal Black", simply seals this as a damn good album.

This return to form gets a 4.3 out of 5! All in all, this album is a must for any Venom Fan, anyone who likes Thrash Metal, and anyone who just likes metal!

BUY THIS ALBUM!