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Dream Theater – Black Clouds & Silver Linings

Every genre has its defining bands. Heavy metal has Iron Maiden and Judas Priest; thrash metal is all about Megadeth and Metallica (though the latter could be debatable); death metal is Cannibal Corpse and Deicide territory; Emperor and Immortal are the evil lords of black metal. When it comes to the bombastic, dramatic spectacle that is progressive metal, one name rings clear every time: Dream Theater.

While they weren’t the pioneers of the genre, Dream Theater helped to revolutionize progressive metal and in effect, gained with it a large and devoted fan base, which has grown as the years have gone on. 2007’s Systematic Chaos landed in the Top 20 on the Billboard charts and was received with positive acclaim by fans and critics alike. The Long Island, NY prog gods have returned with their tenth studio album Black Clouds & Silver Linings. Comprised of only six tracks, with four of them clocking way past the ten-minute mark, Dream Theater has pushed the boundaries of their sound yet again. While signing to Roadrunner Records could have completely neutered their sound, the band has stuck to their guns, with only a sharper metal edge to their melodic roots.

There are the distracters who have scoffed at the band’s over-reliance on drawn-out instrumental sections that come across as self-indulgence and unnecessary. Black Clouds & Silver Linings shows that even with longer songs, everything sounds natural and organic. There are moments where a little restraint could have balanced the album out better, but by and large, the album flow smoothly and keeps the listener’s attention for the entire 75 minutes.

Epic is a word thrown around a lot in progressive metal, but 16-minute opener “A Nightmare To Remember” can definitely be labeled that with glowing pride. Dream Theater utilizes trade-off guitar/keyboard solos and frantic metal riffing, along with a few timely melodic sections. The only knock against the track is the woeful harsh vocals attempted by drummer Mike Portnoy, which are out-of-place and awkward in the context of the song.

Single “A Rite Of Passage” is a heavy beast, a spiritual successor to “As I Am” from 2003’s Train Of Thought, complete with a technically-sound bass intro and a wicked shredding solo from John Petrucci. The ballad “Wither” lacks the emotional impact of “The Spirit Carries On” or “Vacant,” but has its charms and is a dynamic contrast to the multi-faceted material.

The band kicks it into high gear in the second half with “The Shattered Fortress,” the last part of Portnoy’s Twelve-Step Suite, or AA Suite, which dealt with the musician’s battle with alcoholism and eventually recovery from it. Started on 2002’s Six Degrees Of Inner Turbulence with “The Glass Prison,” each album since then has had one song that continued the suite. For non-fans, “The Shattered Fortress” may seem like a jumbled mess, as melodies and lyrics from all the past songs are utilized. This is a song that is meant with the fans in mind, a solid wrap-up to those that have followed the suite since the very beginning.

“The Best Of Times” and “The Count Of Tuscany” end the album with two extended compositions that together make up over 30 minutes of the running length. The former is a heartbreaking tale about Portnoy’s recently-deceased father, destined to be a future classic for the band. The three-minute long piano/acoustic guitar/violin opening is the poignant moment on Black Holes & Silver Linings, with Petrucci’s solo in the final minutes ranking as one of the best of his career. The latter is a little on the long side, but has several stand-out sections, including some fantastic acoustic work and well-timed drum fills.

Most fans break Dream Theater’s history up into three parts, based on the keyboardist that was with the band at the time. While Black Clouds & Silver Linings doesn’t compare to anything from the Kevin Moore period (When Dream & Day Unite-Awake), it is one of the band’s most consistent albums since Scenes From A Memory. The band is still at the top of their game at their respective instruments, and James LaBrie hasn’t sounded this strong vocally since Awake. Long-time fans who have been hesitant of the band’s output since Jordan Rudess was recruited into the band will find nothing to really draw them back in, but any newer fans to the band, and those who have supported them since the beginning, through the ups-and-downs, will find a labor of love in Black Clouds & Silver Linings.

Rating: 8.5/10
Label: Roadrunner Records
Web Site: http://www.myspace.com/dreamtheater

By Dan Marsicano

Candlemass – Death Magic Doom

In 2005, doom metal legends Candlemass got back on their feet with their self-titled effort, which featured the return of vocalist Messiah Marcolin. One of the primary reasons for the band’s rise to the top of the genre during the late 80s, Nightfall, Ancient Dreams, and Tales Of Creation are still considered the be-all, end-all of doom metal. Of course, all good things come to an end, and in this case, the loss of Marcolin for the second time a year later was that ending. With Marcolin out of the picture, this could have been the nail in the coffin for Candlemass.

Instead, they quickly found a replacement in Solitude Aeturnus vocalist Robert Lowe. 2007’s King Of The Grey Islands was a decent effort, but something seemed to be missing. Whether it was the uninspired riffs or the lack of a strong presence from Lowe, the album received a lukewarm response from fans and critics. Fast-forward two short years later and Candlemass has come back with Death Magic Doom, their strongest album in years. If anybody was hesitant about the future of Candlemass after Marcolin’s departure, Death Magic Doom will silence any and all doubters.

Candlemass wastes no time with the speedy opener “If I Ever Die,” which has a thrashy undertone to it. Lowe takes full command of the proceedings and never loosens his tight grasp. A fast beginning was a smart move; a guaranteed method to swiftly get the listener’s attention. The band tries their hand at another fast-paced number later in the album, “Dead Angel,” with equally notable results.

It wouldn’t be a Candlemass album without slow, calculating doom metal and the band doesn’t disappoint. “Hammer Of Doom” is the definition of classic doom, starting off low-key and measured, before erupting with a blazing middle section with fantastic lead work from Lars “Lasse” Johansson. Not a note is wasted or a dull second to be had. “The Bleeding Baroness” weaves a morbid tale of blood, death, and evil, while the melodic closer “My Funeral Dreams” is a horrifying trip into the dreams of a haunted figure, a cold atmosphere enhanced by keyboards and well-placed clean electric passages.

The band has never sounded better, but the MVP of Death Magic Doom is vocalist Robert Lowe. Lowe sounded out of place on King Of The Grey Islands, but completely puts his heart into Death Magic Doom and easily pulls out one of the best performances of his career. Candlemass was smart to pick him up, as he has the right range and tone to fit the depressing nature of the band.

It has been a great year for doom metal, with Heaven And Hell showing that Dio, Iommi, Butler, and Appice still got it after 17 years and My Dying Bride bringing the violin back to add texture and dimensions that have been missing since Like Gods Of The Sun. Candlemass may not get the attention that these bands receive, but for over two decades, the quintet has been cranking out epic and dark doom metal that seems to get better and better as time goes on. After the misstep of King Of The Grey Islands, Death Magic Doom is what Candlemass needed to show their fan base that this sinister train still has some steam left in it.

Rating: 8/10
Label: Nuclear Blast
Web Site: http://www.myspace.com/candlemass

By Dan Marsicano

Job For A Cowboy – Ruination

So it’s been a whirlwind ride for the Arizona metal machine JOB FOR A COWBOY for the past 2 years. With a name as such you wouldn’t conjure up sounds as devastating as they produce, but yet maybe more of a softer, more sublte emopop act. Yet one listen to their DOOM EP or perhaps GENESIS and that association will disappear within 2 seconds. Being one of the most dominant bands in their genre early in their career on MYSPACE has led them to garner critical and fan acclaim worldwide. But now it’s mid 2009 and they are going to drop RUINATION upon us with the recording debut of drummer Jon Rice.

And judging by the subtle, 2-second drum flourish to start the first song, “Unfurling A Darkened Gospel,” you will come to know the name Jon Rice as being a top percussion practicioner as his abilities are without a doubt going to bring his name into drummer conversations over the years to come as I would expect his name to be dropped with the upper echelon of Lombardo, Barker, and Sandoval for their genre. His playing is the highlight of this release as he switches between blast beats, actually feels the grooves in the verses of “Summon The Hounds,” and can lay back in the pocket in the title track which closes the album. Those who were lucky enough to see JFAC late last year on tour were able to hear “Constitutional Masturbation” while on tour which showcases the dynamics that JFAC are capable of producing which is when they are truly at their best. As with any band, it’s great to be able to blast ahead at breakneck speed, but knowing when to pull it back, find the hole, and fill it with something tasteful is when a band truly learns the art of songwriting and the young lads of JFAC have learned this at an early age.

“Regurgitated Disinformation” is a track which guitarists Bobby Thompson and Al Glassman shine with their precision picking, memorable riffs that are interspersed with fast melody picking breaking up what could possibly become boring yet their phrasings, and octave-style approach to layering the song helps save them from being another forgotten band in a genre that seems to pump out band after band these days. “March To Global Enslavement” and “Lords Of Chaos” while still heavy as hell, manage to produce moments of dark melody with slower tempos but yet are quickly pushed ahead with more furies of fast drumming that is placed in the right places to accentuate the song and build structures. While purists may still argue that JFAC are not a “real death metal band” it truly doesn’t matter. What matters is that these youngsters have managed to capture energy, tight musicianship, and an ability to write songs that ebb and flow to keep themselves interested and nothing sounds contrived or fake as the purists may think. Watch for JFAC to jump up another level in their genre over the next year.

RATING: 9/10
LABEL: Metal Blade
WEBSITE: www.jfacmetal.com

By Mark Thompson

Your Demise – Ignorance Never Dies

The UK’s latest hype, YOUR DEMISE comes out swinging with their latest Earache Records (US)/Visible Noise (Europe) release, Ignorance Never Dies.  The band plays this bruising style of American metallic hardcore dubbed “hardcore 2.0”, where the band sure keeps the spirit, while mixing in plenty of drum n bass interludes that help differentiates them a little from the pack.  Comparisons can be made with Hatebreed and Agnostic Front on the heavier side, which by the way YOUR DEMISE happens to be one of Jamey Jasta’s favorite bands.  But when freshening up the traditional sound, YOUR DEMISE as a whole has crafted a strong style with some fresh ideas.    

YOUR DEMISE opens up with the title track, “Ignorance Never Dies”, and the striking melodies in the intro set up the listener for blast off.  The song as a whole gives a steady stomp, and acts as the warm-up into what’s going to come next…

Immediately picking up the pace, YOUR DEMISE unleashes “Burnt Tongues” and shows strength in their delivery.  Bursting out of their cage, the band unleashes brutal blasts of hardcore that are soon to transition into beautiful melodies layered with frantic drum rolls, strong chants, and galloping bass lines.  Soon enough the band is back to the brutality, giving some unbreakable guitar tones.  Nothing new, but nothing wrong with some straight up hardcore either.

YOUR DEMISE really lets out their energy in “All I Never Want To Be”.  Chaotic distortion is let loose in the intro, and building off of that, the band takes us through an obstacle course at full speed.  Closing up shop, the guitar counter attacks on the breakdown really get the fists pumping, the blood flowing, and the spirit in tact.  “All I Never Want To Be” really shows us the monster within YOUR DEMISE, and the song has a sound that suits them well. 

Though a range of influences show, each song on Ignorance Never Dies is written very well.  Though I’m a tad confused on some choice placements on their drum n bass interludes, Ignorance Never Dies is still a solid hardcore release.  YOUR DEMISE definitely has the potential to grow, and with strong teams equipped globally, I believe their hype is going to make them one of the bigger acts in the hardcore scene.

Rating: 8/10
Label: Earache Records (US) / Visible Noise (Europe)
Website: http://www.myspace.com/yourdemise

By Alex Gilbert

Slough Feg – Ape Uprising

Goatwhore – Carving Out The Eyes Of God

I am going to take a quote from my last interview with Sammy Duet (guitar) to start this review as it reads:

SMN: What’s the hardest part of writing for you?
SAMMY: The initial idea. Actually starting off the song is the hardest part. To come up with 2 riffs that just click. Once you get past that it’s pretty easy after that.

If that’s the hardest part for writing a song for GOATWHORE, then he must have really racked his brain in attempting to get their newest release to his fretboard. 2006 saw the quartet partner with Erik Rutan producing A Haunting Curse and hitting the road to deliver their southern blend of black metal fused with a punk edge and garnered many new fans in the process. This time around, again with Rutan producing, they return with Carving Out The Eyes Of God which owes more to their early roots (CELTIC FROST, BATHORY) with a more straightforward approach to their songwriting. Don’t get me wrong as they still have their disjointed moments with riffs held together only by glue, it’s just the album has a more fluid feel to the structure of the songs which is what may have detracted listeners in the past.

You have album closer, “To Mourn And Forever Wander Through Forgotten Doorways” that has an eerie spoken word type vibe over a dirge riff with a shuffle to it. There’s also “Shadow Of A Rising Knife” that has the old standard horse gallop rhythm throughout the verses before we are led into blast central then a quick change into the guitar solo over a straight fist pumping rhythm. Again, all of this comes natural as guitarist Sammy stands out displaying his soloing ability that is not over indulgent yet played carefully into modes showing his deeper musical ability. “The All-Destroying” still shows that GOATWHORE has not lost who they are musically as it possesses the normal blast beats with driving rhythmic intensity that they have been come to be known for with evil sounding progressions and odd changes. And album opener, “Apocalyptic Havoc” shows that they have become masters of their art working riffs over, inside, and out to create a musical experience. As I expected this album to become more intricate, going the opposite direction with a stronger focus on the ‘riff’ and repetition, GOATWHORE have gone above expectations this time around.

As this release hasn’t left the player since it was received, the main point to get across to those reading is that GOATWHORE have remained true to themselves musically and of course lyrically as well, yet have treated their art as a fine wine. With age they have allowed some of their natural abilities loose to give the listener a better appreciation of their craft. This is destined to be their version of The Blackening by MACHINE HEAD for their genre as they have perfected their art and this album will turn up in many ‘Best Of’ lists for 2009!

Rating: 10/10
Label: Metal Blade
Website: www.myspace.com/goatwhore

By Mark Thompson

IWRESTLEDABEARONCE – It’s All Happening

In 2009 people often wonder what is going to be next in the evolution of heavy music. While some continue to push the boundaries into extreme, some have come to flirt with adding elements of electro to attempt to blend a new creation which isn’t exactly all that new. In the case of Louisiana’s IWRESTLEDABEARONCE, they have taken the elements of Math Metal and Electro and combined them with FAITH NO MORE / GLASSJAW elements and given us their Century Media offering, It’s All Happening. When a band comes at you with a name such as IWRESTLEDABEARONCE, you probably don’t know what to expect until you actually give them a chance. While the choices for song titles have run their course at this point, IWABO have decided to get clever with their selection and while not being overly pompous and not overusing 4-syllable words, they display a clever element in titles.

The album starts off with the first single “You Ain’t No Family” which when followed by “White Water In The Morning” you are given the full ensemble of what to expect over the course of the 34-minute listen. Complete with country fried breakdowns (You Ain’t No Family), a duelling banjo intro (Danger In The Manger), and a casio sounding verse for “Tastes Like Kevn Bacon” complete with bear growl vocals from Krysta Cameron, your ears are taken on a sonic journey musically which is a welcome element to IWABO.

Unfortunately by the time you hit Tracks 6 and 8, “The Cat’s Pajamas” and “Black-Eyed Bush,” the journey seems to come to an abrupt hault and while variations of song tempo and structure always help a band show diversity, these 2 songs seem out of context as their song structure is already varied enough that these two songs miss the mark. While “Pazuzu For The Win” gets my nod for standout track and amazing musicianship, it’s some of the Mike Patton / Daryl Palumbo style phrasings of the vocals that actually detract me from this album. While I’m not sure if that is the intent from IWABO or if it was the influence of Producer Ross Robinson, it’s the downfall of the record to my ears. Yes, the musicianship displayed is above the norm, it’s some of the more ambient sections (tracks 6 and 8) and distant vocals that limit the reach of IWABO but I’m still sure they will have a great run for the scenesters who will think this is hip and completely original.

RATING: 6 / 10
LABEL: Century Media
WEBSITE: www.iwrestledabearonce.com

By Mark Thompson

Goes Cube – Another Day Has Passed

GOES CUBE is a band that the world needs more of. What I really love about GOES CUBE is how they masterfully combine rock, punk, and metal, and can still stamp it as original. With music these days, it’s great to put in a CD like GOES CUBE’s latest and first full length, Another Day Has Passed, and just enjoy something fresh. It’s both punishing and a work of art. You’ll be surprised how much power these guys unleash with a ton of massive distortion, commanding chants, brilliant melody, and diverse drumming that is set to stun with whatever attack GOES CUBE decides to approach. And man alive do they have some monstrous riffs.

Another Day Has Passed opens up massively with “Bluest Sky”. GOES CUBE gets straight to business with the aggressive and fast tempo. Marching ahead, GOES CUBE gives plenty of twists and unique ways to rock out. You’ll also be very impressed how smoothly and suddenly the band can switch the tempo.

Blasting further into Another Day Has Passed, GOES CUBE’s newest single, “Song 30” starts off just straight rockin! Again, keep in mind their originality, for even how catchy they make things is original. As the verses move on, you’ll find that their structures set up great for striking the listener. The chord progressions are different, and that is something I really appreciate.

Another Day Has Passed closes with the title track, “Another Day Has Passed”, and GOES CUBE shows that they can pull off the epic side of business. The intro gives beautiful ambient passages with a vocal mood that matches the sound. Building up slowly but surely, shimmering melody comes into play to keep the listener in tact. But soon, that mega distortion comes back to brilliantly switch the mood, and GOES CUBE continues to stomp along. Then, out of the blue, GOES CUBE picks up the pace with some monster riffs, razor sharp melodies, and a message to be heard. The structure is great, and GOES CUBE ends the song on some strong memorable melody.

These guys are making music to the realest, and they are deciding to make it exactly the way they want to. Not just showing promise of bringing back the NYC rock scene, but also promise in aiding the underground scene in general. Don’t let another day pass without checking out GOES CUBE.

Rating: 8.5/10
Label: The End Records
Website: http://www.myspace.com/goescube

By Alex Gilbert

My Dying Bride – For Lies I Sire

Since its formation in 1990, My Dying Bride has been one of the pioneers of the doom/death metal genre. The band has been through its ups and downs over the years from poking and prodding at their sound, to mixed results at times. While garnishing a loyal fan base, this inconsistency has had its drawbacks, mainly in the way that the metal community looks at the band. For some, My Dying Bride hit their peak with 1995’s The Angel And The Dark River, while others lean more towards their present material, with 2004’s Songs Of Darkness, Words Of Light being held on a high pedestal.

No matter one’s opinion of the band’s catalog, there is one aspect of the band’s sound that has always been agreed upon; Martin Powell’s violin work. In My Dying Bride’s heyday, that violin was a huge part of shaping the dark textures and sullen melodies that shaped some of the band’s early masterpieces. Once Powell left in 1998, the band continued on without replacing Powell, experimenting with their sound while retaining the depressingly morbid vibes.

After the solid performance of My Dying Bride on 2006’s A Line Of Deathless Kings, the line-up was shaken up by the departure of long-time bassist Adrian “Ade” Jackson and keyboardist Sarah Stanton. Frontman Aaron Stainthorpe used this blessing in disguise to re-work the band, with the major addition being A Forest Of Stars keyboardist/violinist Katie Stone. For the first time since 1996’s Like Gods Of The Sun, the violin would play a key role, as evident by My Dying Bride’s new album, For Lies I Sire.

My Dying Bride’s tenth studio album is a fascinating slab of doom metal. The band’s past clashes with the present, engaging the listener with poignant dynamics that hasn’t been heard from the band in years. The re-emergence of the violins has opened up new ways to freshen up the band’s sound and possibly bring back some of the older fans longing for the days of “Turn Loose The Swans” and “The Cry Of Mankind.” While none of the tracks on For Lies I Sire approaches the depressing beauty of those two tracks, there are several stellar tracks that can be mentioned alongside with the best of the band’s latter-day body of work.

“My Body, A Funeral” is another strong opener from a band that has opened every album on a high note. Darkness and despair drip from the tongue of Stainthorpe, with the band holding up their end by keeping the pace as slow as humanly possible. The violin has a major part in building tension throughout the track. New drummer Dan Mullins does a great job, with insane fills halfway through that bring some much-needed energy to the percussion work that A Line Of Deathless Kings lacked.
Unlike the past couple of albums, For Lies I Sire mixes the epic numbers with a few quick and to-the-point tracks. In the former category, “Fall With Me” is surprisingly catchy, with decent harmonic leads, harsh whispers, and a hopelessness aurora from the ever-present violin. “Echoes From A Hollow Soul” is seven minutes of sheer poetic gloominess, with a heavy emphasis on the keyboards, lending a melancholy mood to the proceedings. “Santuario Di Sangue” is one of the few tracks where the violin plays a lead role, something My Dying Bride disappointedly doesn’t do enough of on the album.

The shorter songs are consistent and relatively harmless, using being the faster-paced tracks, helping to add some variety to the album. The only notable misstep is with “A Chapter In Loathing,” a ill-advised and flat attempt to go back to the days of “The Forever People.” Stainthorpe harsh growls are awful and out-of-tune, lacking any of the power and finesse of earlier albums. While the band itself does a good job, Stainthorpe’s vocal performance overshadows any positives.

For Lies I Sire is on par with My Dying Bride’s past few albums, with the violin work a welcomed presence in the band’s core sound. Stainthorpe’s clean vocals are fantastic, even if he really doesn’t sing as much as he does melodic spoken word, and the guitar duo of Andrew Craighan and Hamish Glencross are still bringing interesting riffs and compositions to the table. Fans of the current-day catalog of My Dying Bride will find themselves excited by another opportunity to dive into the brooding and downtrodden mind of the band, while older fans may actually find the return of the violin to be a much-needed step forward towards the band’s glory days of old. If you thought My Dying Bride was boring and plodding before, For Lies I Sire won’t change your mind, but doom metal aficionados will salivate at the haunting soundscapes on display throughout the album.

Rating: 8.0/10
Label: Peaceville Records
Web Site: http://www.myspace.com/officialmydyingbride

By Dan Marsicano

Sworn Enemy – Total World Domination

“Sell My Soul” is the first vocal line screamed by Sal LoCoco whose regathering with Tim Lambesis on co-production pretty much guarantees what your ears are going to be given this time around from Queens, NY own, SWORN ENEMY. Sal goes on to state, “I won’t sell my soul,” which is the statement that runs through his veins. While initially coming across as a standard hardcore band when signed to Elektra, SWORN ENEMY has gone through label changes, member changes, and refined their musical direction which takes us to Total World Domination which hits stores on June 16.

Complete with a new, more intense rhythm section, Sid Caballero on Bass and Jerad Buckwalter on Drums, guitarists Lorenzo Antonucci and Jamie Hunt seemed to have been pushed to become better musicians as evident in their melodies and precision leads in “Run For Shelter.” In fact, some more of their talent is displayed courageously on “Lies” and “Disconnect” as well. While they still have their SLAYER moments like at the 1:58 mark of “Still Hating,” and their ANTHRAX grooves like “Ready To Fight” at 45 seconds, they remain themselves lyrically to the fullest extent which stops them from being another joke modern thrash band and gives them their true NYHC image complete with ample breakdowns throughout the 10 tracks.

While Total World Domination is not going to set any new trends or be known for creating a new genre, there is enough tough guy imagery, HC anthems, and driving metal rhythms to create exactly what SWORN ENEMY have come to be known for in 2009 – a solid, short but sweet album with enough punching power to KO Chuck Liddell.

Rating: 9/10
Label: Century Media
Website: www.myspace.com/swornenemy

By Mark Thompson

Neaera – Omnicide – Creation Unleashed

When The Rising Tide Of Oblivion arrived in my mail in 2005 I was instantly impressed yet that impression slid a bit backwards over the next 2 years as possibly it was the over-saturation of the genre. Then a couple days ago I put my fork back into my plate and began to digest Omnicide – Creation Unleashed and have been reminded why NEAERA impressed me so much to begin with as they have now taken their formula to the next level.

Beginning with “I Loathe,” NEAERA are back and stronger than ever showcasing their ability to blend elements from Death / Black / Thrash / Hardcore and not sound like a copycat from any other act on the market today. “Prey To Anguish” is a dynamic track that pushes ahead with aggression yet still maintains a melodic side with a simple breakdown around the 2:00 minute mark which keeps them in sync with the current trend, yet again not sounding like a clone. The element of surprise within the band is the ability to effectively balance the gutteral vocals with the swallowed broken glass style that maintains an enthusiasm from the listener. “Caesura,” obviously the heaviest / fastest track on the album is sure to satisfy the purists of the genre as drummer Sebastian Heldt seems to be the center of attention with his driving double bass that is often complimented by his ride cymbal patterns instead of the washed out crash effect that many are using throughout the genre. “In Near Ruins” is my favorite track as it mixes up riffs with different drum patterns and has the dynamics that NEAERA should now be known for with this release as their song structure is not typical by any means and they’ve learned to mix up the structure yet not abandoning the overall sense of the song.

Maybe it was the time between albums but it seems that NEAERA have recaptured their fire that was displayed on their debut – intense, fast, dynamic, and driving. It’s 2009 and there have been some great albums released this year so far, but count on adding this one to your collection as it’s one that is not to be missed.

Rating: 9/10
Label: Metal Blade
Website: www.neaera.com

By Mark Thompson

Oceano – Depths

Chicago’s OCEANO creates some of the most brutal metal that pushes the limits of extreme, and their 2009 Earache Records debut, Depths, already delivers the knockout punch with such a mastered force!!  Maximum headbangs can be found here, and OCEANO’s brand of deathcore sticks out in many ways that make them special.  Do not call OCEANO generic deathcore, because we’ll show you why…  With the raw power and strength of the music, OCEANO’s delivery is superb with the low ended tritone breakdowns, irresistible layers of melody, commanding vocals, and drummer Daniel’s technicality and ability to make every attack its strongest.  Plus, the band adds elements of death metal and shows some hints of progression.

OCEANO opens Depths with the intro “Descent”, which sets up the beast to be let out at full force with “Inhuman Affliction”.  The opening tritone breakdowns OCEANO takes are from the depths of hell, and the band mixes both dissonant chords with the chugs of death that we all have some kind of guilty pleasure for – and they pull it off well.  Soon, OCEANO is off to the races, and high rasps go with the flow of it all.  They sure keep the listener in tact, for a massive breakdown turns into *party time* where OCEANO takes on some strong melody that’s brilliantly counter attacked with extreme guitar tones.  The song closes almost as if a clock is ticking down to your doom with the double bass, and the brutality just slays the listener.

Getting further into Depths, the almighty OCEANO blasts into “Samael The Destroyer”, giving us the instant headbang in a very catchy structure.  Add on vocalist Adam’s deep guttural growls and OCEANO is ready to destroy.  Destroy they do, and the pace begins to pick up while innovating with the low end.  Their structures are unbreakable, and “Samael The Destroyer” creates this huge wall of sound as each breakdown takes form of a different direction.  The outro gives soaring melodies to accompany the anthem, and gives a nice breather from all the brutality just experienced.

Another great song to take note of is their newest single, “District Of Misery”.  The song gets straight to business with a massive breakdown, which then breaks out into much more.  The verses blast away with both tritone breakdowns and harmonies from hell, and once again OCEANO very effectively layers their brutality, this time with a set of ringing high notes.  Coming up, we have a guitar solo that matches the integrity of the sound, which is then blasted away by more unfiltered brutality.

Depths closes with the song “Abysm” and let me tell you, that’s the jam right there!  Much like The Acacia Strain’s Continent closing on a jam, OCEANO explores that same area and gives the mood such a deep feeling.  Beginning with fretboard tapping layered with a brutal and obscure structure, “Abysm” breaks out into even more.  The band lets their music enter you with a constant and commanding extreme guitar tones layered with shimmering riffs.  “Abysm” is such a stunning way to countdown the end of Depths.  Possibly a new musical direction, but positively shows OCEANO’s versatility.

What really impresses me throughout the whole CD is OCEANO’s ability to keep it brutal as ever, no matter the tempo changes.  And keep in mind that drummer Daniel is drumming his ass off the entire time.  These guys are straight up representing, bro.  And boy, do they back up their brutality when playing live!!  OCEANO is a killer band all around whose hype has been increasing fast, and I believe they are soon to be one of the scene’s top.  Let’s hope these depths get even deeper!!…

Rating: 7/10
Label: Earache Records
Website: http://www.myspace.com/xoceano

By Alex Gilbert

Lamb of God – Wrath

For over a decade, Lamb of God has taken groove metal to the mainstream, slowly climbing up the charts, while gaining a reputation as one of the craziest live acts in metal. From chugging breakdowns to walls of death, there is no doubt that when somebody buys a ticket to a LOG concert, all hell is going to break loose. Lamb of God’s albums have always had a consistent quality to them, sticking to a formula with little change or experimenting. Sure, in later years, there has been a heavier emphasis on the lead guitar and vocalist Randy Blythe has worked with his range, but the band has mostly stuck to a career path that emphasizes brutality over innovation. 

Wrath, the band’s fifth album, is no different than any of their past four albums. The production is better, there are bits and pieces of actual melody scattered around, and closing track “Reclamation” hits the seven-minute mark, but Wrath is still Lamb of God through and through. Many will read this with a sign of relief, a fear that the band was letting the surprising success of Sacrament get to their head. Others will sigh in frustration, wondering how a band can be so stubborn and unwilling to branch out. 

Instrumental “The Passing” is a low-key start to Wrath, with acoustic guitars providing some complex textures normally not heard from Lamb of God. These textures return in the form of a bluesy jam to start “Reclamation” and a timely clean break in the introduction to “Grace.” Other than these calm moments, it is full speed ahead for the Virginian quintet. The first half is particularly strong, with “Set To Fail” and “Fake Messiah” keeping things mid-paced, while heightening the intensity and reckless abandonment. “Contractor” starts off like a freight train going off the tracks, killing everything in its path, before slowly down for a heavy breakdown that was made with the intention of smashing crap. 

The second half is where the band deviates to tired and repetitive songwriting. It’s like the band seemed to run out of ideas, aiming for aggression and pounding riffs instead of any type of memorable attributes. “Everything To Nothing” is the only song that seems to have any type of kick to it, save for the god-awful chorus. The lyrics seem to be getting worse and worse as the band’s career goes on, and while that aspect of the band hasn’t always been their strong suit, Wrath seems to be nothing more than a mix of angry tirades and expletives randomly strung together with no clear message. Who really listens to Lamb of God for poetic lyrics though? 

Wrath is the sound of a band on auto-pilot. Blythe’s vocals are still harsh and biting, though his singing could use some work, the guitar duo of Mark Morton and Willie Adler provide a few catchy riffs and solid solos, and the rhythm section is mostly dull, save for the work-horse mentality of drummer Chris Adler. Judging by their #2 debut on the Billboard charts, Lamb of God seemed to have found a large audience with Wrath; too bad that it came at the sacrifice of any type of progression or creativity.  

Rating: 6.5/10
Label: Epic
Web site: http://www.lamb-of-god.com/ 

By Dan Marsicano

Narrows – New Distances

When the folks at Deathwish Inc announced the signing of Narrows to their heralded roster last year, post-hardcore junkies let out a collective “fuck yes!” Featuring Dave Verellen (Botch), Ryan Frederickson (These Arms Are Snakes, Nineironspitfire), Rob Moran (Unbroken, Some Girls), Jodie Cox (Tropics), and Sam Stothers (Makeout Boys), Narrows sounds exactly like they should. The guitars, while angular, pack punch bringing to mind bands like Shellac and Jesus Lizard but the parts owe more to the hardcore and metal informed racket of their prior projects. Cox and Fredericksen stack one dissonant riff on top of the other never letting up during the band’s full-length debut, New Distances.

On tracks like “Newly Restored” and “A Restoration Effort,” the band plows through the material with air-tight precision but enough looseness in certain spots revealing a “rockier” side to their style. Verellen’s bark is as potent and venomous as his days in Botch but he’s also introduced more clarity in his delivery which fits in nicely. The album opens with “Chambered” which encapsulates the strongest aspects of Narrows’s attack in the span of a couple of minutes. From there on, New Distances doesn’t let up. The group proves throughout the album that they not only possess the technical skills to make their chaotic songs believable, they also know when to hold back and let parts breathe. That’s the kind of songwriting craft that many of the younger bands these musicians have helped influence lack. Hopefully Narrows overcome their geographical issues (members live spread out in the U.S. and the UK) and keep on creating post-hardcore this vital.

Rating: 8/10
Label: Deathwish Inc
Web site: www.deathwishinc.com

By Carlos Ramirez

Heaven and Hell – The Devil You Know

When Ozzy Osbourne left Black Sabbath in 1979, metal fans were concerned about the future direction of their favorite gloomy Englishmen. When ex-Rainbow vocalist Ronnie James Dio took the reins of Sabbath, there was slight trepidation, to say the least. It turned out that the Dio-era led to arguably the creative highpoint of Sabbath, with two back-to-back classics, 1980’s Heaven and Hell and 1981’s Mob Rules. While internal issues would tear apart the line-up not once but twice, Dio, guitarist Tony Iommi, bassist Geezer Butler, and drummer Vinny Appice have re-united again with a new name to separate themselves from the shadow of Sabbath.

With over a decade-and-a-half of time between their last album together, 1992’s Dehumanizer, comes a fresh perspective on the art of crafting dark and intense songs. Older, wiser, and more relentless, Heaven and Hell have topped themselves with The Devil You Know. While the more methodical approach to their sonic attack will leave a few longing for the days of “Neon Knights” and “Turn Up The Night,” The Devil You Know is the heaviest album to date from this line-up, reaching a level of musicianship that almost rivals their early 80’s masterpieces.

While past albums have had fast-paced openers, The Devil You Know pulls a 180 and goes for a more subtle pouncing with “Atom And Evil.” Slow burning riffs, Dio’s soaring vocals, and a pummeling rhythm section introduce a small taste of the evil textures that are afoot on The Devil You Know. Single “Bible Black” is the “Sign Of The Southern Cross” of the album; a acoustic intro leading into a powerful middle section with a melody guaranteed to be etched into the listener’s memory. Most of the album is at a mid-paced tempo, with the band electing to generate a somber atmosphere. The band doesn’t kick it into high gear until the seventh track, “Eating The Cannibals,” an uproarious heavy metal beast that gives the album a major kick in the balls.

Dio is singing in a lower register than he has in previous albums, but for a man nearing his 67^th birthday, Dio is more than capable of reaching those high notes, adding intensity to his voice that can only come as a result of age. Tony Iommi is still a guitar god, crafting riffs that resonate with the listener hours after the last note of closer “Breaking Into Heaven” fades away. His lead work deserves mention, as even after some 40-odd years, Iommi still has a few tricks up his sleeve. The rhythm section of Butler and Appice are the steady hands of the group, keeping everything in order and providing an outlet for Iommi to let loose.

If The Devil You Know is the last album with this line-up, then it is a hell of a way to go out. The album isn’t a magnum opus on the level of Heaven and Hell or Mob Rules, but it beats out Dehumanizer in overall quality and is the best studio album that either Dio or Iommi has been involved with in over a decade. There seems to be a renewed energy between these four musicians, and whether or not this line-up will last long together is a moot point. Who would have thought that this line-up would ever play another live show again, yet alone record an entire album of new material? The Devil You Know is doom metal done right, a rich and multi-dimensional album worthy of any metal fan’s collection.

Rating: 8.5/10
Label: Rhino
Web site: http://www.heavenandhelllive.com/

By Dan Marsicano

Hatebreed – For The Lions

I have never really been a big fan of Hatebreed, mainly due to the fact that they completely lack creativity or originality. I have heard more or less every album they have released since their major label debut Satisfaction Is The Death Of Desire. Every album sounds almost identical to the previous with the band never evolving and the only thing that has changed over time was the quality of the production. That said I come at ‘For The Lions‘ open minded as this has some of my favorite songs by some of the biggest names of the Metal universe.

KEY: Song Title – Original BandAlbumRelease Date – Track Length – My Rating – My Review

Ghosts Of War – Slayer South of Heaven1988 – 4:00 – 5 out of 5 – The opening track starts sounding almost identical to the original production then explodes into current Hatebreed production value. All in all this is a great cover of a classic Metal song and I was blown away by the roaring guitar riffs and the nearly identical soloingbreakaway sections. Furthermore Jasta’s vocal style fits extremely well into a Slayer song, which isn’t surprising as Tom Araya uses a similar style of simple yells. Overall a great start to an album I was skeptical about.

Suicidal Maniac – Suicidal Tendencies Join the Army1987 – 3:06 – 4 out of 5 – The second track like the first is a nearly identical cover except the obvious improved production over the original. The band is in fine form here on a song that is far more straight forward Thrash with catchy vocals and an excellent solo towards the end. Again Jasta does his best to sound similiar to the original vocalist and even puts down some deeper then he’s used to vocals.

Escape – Metallica Ride the Lightning 1984 – 4:38 – 6 out of 5 – Talk about being completely blind sided! I was extremely anxious to hear this track as Metallica is easily one of the most covered bands in the Metal genre. Hatebreed’s rendition is easily the best I have heard to date. Jasta even moves away from his safe zone and sings in a manner that is almost identical to James Hetfield, and at times is an improvement compared to the original. Right from the beginning to the very end the guitars steal the show pretty much identical to the original. Yet again we get an amazing solo that could rival the original from the 84 recording. I enjoyed this so much I would LOVE to hear Hatebreed do a Metallica only cover album. Easily my favorite on the album and a must hear for Metallica fans.

Hatebreeders – The Misfits Walk Among Us 1982 – 2:51 – 3 out of 5 – The one song on the album I was most skeptical about due to both being a Misfit’s fan and because this is a style far outside Hatebreed’s safe zone. Luckily it might as well be a re-recording of the original if if Jasta tends to go a bit lower on the vocals then Glenn Danzig on the original. The only problem I have is this is a fairly boring track, just the same thing over and over and seems like filler after three amazing Thrash cover’s. Not a bad song by far, just a rather plain choice by the band. Would have rather heard a cover of “Astro Zombies” or “Vampira” or even some of the later music, anything a little more interesting.

Set It Off – Madball Set It Off 1994 – 2:37 – 5 out of 5 – After the rather bland fourth track Hatebreed quite literally ‘Set It Off’ with this fast paced straight forward 90’s Hardcore track. Probably one of the bands Hatebreed are inspired by the guys show fine form and this track would fit well on any of Hatebreed’s original albums. All in all a very straight forward song with some punishing riffs and drum work.

Thirsty and Miserable – Black Flag Damaged 1981 – 2:21 – 5 out of 5 – Yet another band that probably inspired Hatebreed, the original is a classic mix of Punk and Hardcore, both sides shine well on Hatebreed’s version. The drumming remains the same PunkRock style while the guitars roar through some upbeat riffs that in my opinion obliterate the original. An overall amazing rendition with Jasta utilizing his signature style of vocals more so then on previous tracks.

All I Had I Gave – Crowbar Crowbar 1993 – 3:15 – 5 out of 5 – After that short stint of Hardcore and Punk Hatebreed bring something new to the table, Sludge Metal. Just as the original depressively slow, down tuned riffing, and vocals that verge on hardcore are all checked. The low tuned guitars and bass rumble through some on point vocals by Jasta, using Kirk Windstein’s signature deeper style of Hardcore yells. As an interesting side note Kirk and Jasta are band mates in the circa 2008 side project Kingdom of Sorrow.

Your Mistake – Agnostic Front Victim in Pain1984 – 1:43 – 5 out of 5 – A short and almost identical cover of the circa 84 Hardcore Punk track. Nothing really stands out on this track and is a straight forward fast paced romp of classic Hardcore goodness.

I’m In Pain – Obituary The End Complete 1992 – 4:11 – 5 out of 5 – Hatebreed tackle one of the original Florida Death Metal scene creators, Obituary. This song is a mid to fast paced romp through some pummeling classic Death riffs and double bass with some insanely well played guitar solo’s and some equally impressive fills by drummer Matt Byrne. The guitars shine through out the track and is an amazing rendition, especially from a band that is so blatantly obviously inspired by the Hardcore scene.

It’s The Limit – Cro-Mags The Age of Quarrel 1986 – 1:40 – 5 out of 5 – We dive back into the New York Hardcore Punk scene with a short upbeat riffeast. This song is basically standard Hardcore Punk from beginning to end and even shows Jasta using some higher pitched screamsyells. A rather solid short and straight to the point track.

RefuseResist – Sepultura Chaos A.D. 1993 – 3:07 – 5 out of 5 – Easily one of the most covered tracks by Sepultura and for good reason it’s straight forward and rememberable riffs have made it one of the most well known songs of it’s time. Like the original the low tuned guitars rumble and the solo at the later end of the track again rival’s the original. Jasta manages to put down some superb vocals but easily the least similar to the original so far. They even included the metal drumming at the beginning and end of the track.

SupertouchS**tfit – Bad Brains Bad Brains 1982 – 2:21 – 5 out of 5 – If I had to pick my favorite of the Hardcore Punk tracks on this album, this would probably be my final decision. Extremely fast paced, upbeat and some excellent solo parts as well as a nice breakdown towards the middle of the track and then as if it were possible the music gets even faster and even faster. An extremely fast and fun song with some excellent soling. Easily the fastest song on the album.

Evil Minds – D.R.I. Dealing With It 1985 – 0:53 – 5 out of 5 – A very short very fast Thrashy Hardcore track with some brutal riff that done by Hatebreed almost comes off sounding not so far off to Slayer or a number of bands from that time. A couple little tiny peeks of soloing and the song end abruptly, straight forward, to the point.

Shut Me Out – Sick Of It All Just Look Around 1992 – 2:14 – 5 out of 5 – Some more straight forward classic Hardcore Punk where we find Jasta continuing to utilize more of his signature vocals. This track is far more in the Punk style of things but still utilizes the Thrashy riffs that was popular in the New York Hardcore scene. Yet another to the point track done well with some fairly catchy lyrics.

Sick Of Talk – Negative Approach UnknownUnknown – 0:38 – 3 out of 5 – Never even heard of the group this is based off of and any information would be appreciated for the review. The song however is basically 38 seconds of Thrashy riffs upbeat drumming and very simple song structure, Just seems like filler to me or a quick ode to a group that obviously went for the most part unheard.

Life Is Pain – Merauder Master Killer 1995 – 3:21 – 5 out of 5 – A cover of One of the lesser known Thrash bands of the 90’s. Hatebreed give a fine showing for this often over looked track which is basically the standard for the Thrash genre. Nothing truly amazing, but far from being a bad track, even some nice mid paced soloing near the end of the track.

Hear Me – Judge Chung King Can Suck It 1989 – 1:54 – 4 out of 5 – Judge is yet another Hardcore Punk band from the New York scene. And though the song is of good quality it was just rather bland compared to the better part of the album. However, it’s nice that they are including some lesser known band’s towards the end of the album.

Boxed In – Subzero Suffering Of Man 2005 – 2:59 – 4 out of 5 – Like the song before it, this one just doesn’t have the “oomph” that the rest of the songs have. Nothing truly wrong with the song and the lyricsvocals stay on point but just sounds like some random Hardcore song, while the others stand out as one of the best of that stylegenre. For me it was a mediocre ending to a great album.

When all is said and done and if you read my statements regarding of how I feel about the band’s previous work’s I am in utter shock. I knew these guys had skill just never imagined I’d get to hear them use it on such a wide array of styles. I do however have one gripe. I wish they would have strayed further away from their Hardcore roots and made the album a wider array of different Metal styles. Would have loved to hear Hatebreed cover Megadeth or Anthrax. But a side that it was an awesome album that a wide assortment of Metal fans should be able to enjoy.

Hatebreed might not have made me a die hard fan but they sure got me to respect them a hell of a lot more after what is easily one of the best one band cover albums I have ever heard. I only hope that maybe having done this they may be more inclined to experiment with their sound more in the future. I still think the Metallica cover is easily one of the best cover’s ever by a band and to see them incorporate some of that 80’s thrash greatness into upcoming albums would be a step in the right direction for them musically.

Review By: User Submitted

Nadja – When I See The Sun Always Shines On TV

Toronto, Canada’s NADJA creates some of the most beautiful ambient sounds that really do reach to the deepest of our hearts.  From seeing NADJA expand music to such depths, anything new coming from the band can be a surprise, but it’s always a treat.  Their 2009 The End Records release, When I See The Sun Always Shines On TV, is an album full of covers, and the band’s open mindedness towards each respective song really shows NADJA’s versatility.  And the cool thing is while NADJA shows hints of the original songs, it’s different, meaning, it’s not just a cover cd that duplicates the originals.

Ok, NADJA covers the classic Slayer song “Dead Skin Mask” and I bet you’re dying to know what it’s like?  Well, let me tell you that they take this one deep, and recreate the classic metallic intro with dark ambience and calculate the rhythm with NADJA touches.  It’s still deep, heavy, evil, and the brilliant vocals morph from moods of haunting, somber, and trance-like.  It really is amazing, and given NADJA’s ability to create epic pieces of art, you’ll have no problem listening to this cover from start to finish.

When recreating “No Cure For The Lonely” by Swans, Jarboe should be proud.  Approaching the song, NADJA gives some beautiful ambient sounds which they are sooooo good at, and the vocals really go with the mood of the music.  The droning pace is excellent, and when NADJA layers effects on the low end, you’ve just got to appreciate how the band sees music.  NADJA sees the whole playing field, and is not afraid to travel into the areas unknown.  The band’s creativity is much needed in today’s music, and it’s a great feeling when they can recreate such a unique song at Swans “No Cure For The Lonely” and blend in their own uniqueness to ultimately give such a deep tone.

Here is the tracklisting for When I See The Sun Always Shines On TV.  After seeing the selection, I know you’ve got to be curious.  Though I’d prefer NADJA originals to this, it sure is great to see what else these masterminds are capable of.  And then again, you can’t really think of this as a stereotypical cover cd.  I don’t want to be a spoiler, so make sure you check out their myspace for a preview, and then as it completely stuns you by its beauty, make sure you go out and buy it. 

 
“Only Shallow” (My Bloody Valentine)
“Pea” (Codeine)
“No Cure for the Lonely” (Swans)
“Dead Skin Mask” (Slayer)
“The Sun Always Shines on TV” (A-Ha)
“Needle in the Hay” (Elliott Smith)
“Long Dark Twenties” (Kids in the Hall)
“Faith” (The Cure)

Rating: 7/10
Label: The End Records
Website: http://www.myspace.com/nadjaluv

By Alex Gilbert

Slipknot, Devildriver, 3 Inches Of Blood – SMN News Live Report

May 3, 2009 – Grand Rapids, MI @ Van Andel Arena

 
3 INCHES OF BLOOD started off the show with a bang.  Their shredding and dynamic sound that we know as 3 INCHES OF BLOOD caught our attention right away.  Opening up with “Deadly Sinners”, the attack began.  Their melodies sounded excellent, and the band’s energy sure kept the crowd involved.  Seeing the full scale arena of the Van Andel Arena in Grand Rapids, MI, it was great to see both people on the floor and in the seats headbanging away.  Oh, and when those guitars harmonized, metal was reeking all throughout the venue.  Playing many more choice cuts of both older classics to newer material, 3 INCHES OF BLOOD kept it coming.  One awesome standout point was when the band played “Night Marauders” off of their latest 2007 Roadrunner Records release, Fire Up The Blades.  They sure fired up the blades, because the energy they put out is the same energy that carried onto the audience.  From the constant gallops of the guitars, Byron Stroud’s pounding rhythm (touring bassist – also known for work in Strapping Young Lad, Fear Factory), or Cam Pipes near perfect live vocal delivery, 3 INCHES OF BLOOD really brought the heat.  

Label: Roadrunner Records
Website: http://www.myspace.com/3iob

 
The almighty DEVILDRIVER opened with the raw and straight in your face metal attack of “Not All Who Wander Are Lost”.  Setting the crowd up for destruction, DEVILDRIVER unleashed the hell with the aggression of the undeniable verse riffs.  Man, the way vocalist Dez commanded the crowd is incredible.  The whole band killed the stage with such integrity and you can just tell that they love what they are doing, and could care less about the media, radio, etc.  The band had their fighting words, and we had their backs.  Moving along, the band jumped into another one of their killer singles, “Clouds Over California”.  The whole crowd seemed to know the words, as we were all helping DEVILDRIVER sing along.  When the guitar solo for “Clouds Over Califonia” came into play, our shred for me fingers all came up for the band.  Not slowing down once, the intro sample to “End Of The Line” began and we knew something big was about to happen.  Once the band broke loose into the brutal and uncompromising riff of the intro, the crowd went absolutely nuts!  All throughout, DEVILDRIVER kept us hooked.  Dez even got the whole crowd chanting, “End of the line!!” with him.  DEVILDRIVER closed with their anthem “Meet The Wretched”, and let us know that they were here for us.  This is also when the massive DEVILDRIVER circle pit formed, and all sorts of hell broke loose.  Closing “Meet The Wretched” on such a strong moment, DEVILDRIVER sure left their mark.  Much respect!!  And make sure you look out and buy their new album Pray For Villains which is coming out this summer on Roadrunner Records…

Label: Roadrunner Records
Website: http://www.myspace.com/devildriver  

First off, I must say that EVERYONE should give a hand to SLIPKNOT for their success, because they’ve created an enormous gateway for many other heavy bands who one might not normally listen to, and now do.  Plus, the band continues to keep it brutal, real, and metal as fuck!  Even their hit singles now-a-days are some of the catchiest ever, and the band still makes their music the way they want to play it.  2009 is the strongest year for SLIPKNOT so far, and it also marks the 10 year anniversary of their classic self-titled Roadrunner Records release.  Many people do not understand what the band is all about, which takes us to the saying, “you can’t judge a book by its cover”, or “you can’t judge a band by their masks”.  SLIPKNOT’s musical direction is an extremely powerful form of expression, life, and it’s all straight from the heart!  Out of all the media/idiots trying to bring the band down, no one will EVER take SLIPKNOT alive!!

Now let’s talk about why it is mandatory to see SLIPKNOT live at least once in your lifetime.  Once the red curtain dropped, the stage consisted of incredible lighting, numerous SLIPKNOT banners, the keg drums on spinning and elevating platforms, Joey Jordison’s drum set on a spinning and elevating platform, incredible scenery, and a baseball bat (for “Duality”).  Giving that stage, SLIPKNOT’s live presence completely killed the whole thing!!  And I swear 99.9% of the people knew every single SLIPKNOT lyric.    From the sampled “The Whole Thing I Think Is Sic”, the band opened up with the brutally undeniable force of “Sic”.  The whole place went completely insane, and the band’s commanding energy was unlike anything I’ve ever seen!  Though the absence of Clown that night left them one member short, Clown was still in all of our hearts for SLIPKNOT did not stop getting the whole venue involved from front to back.  The way guitarists Jim Root and Mick Thompson counter attack has always been amazing, but seeing them team up live was plain awesome.  SLIPKNOT would go on to play many selections from each of their releases, including the completely badass “Eyeless”, “Left Behind”, and we all went psychosocial for “Psychosocial”.  In the mix, vocalist Corey Taylor disappeared, only for the lights to shine his way in the center of the venue.  And one hell of a vocal performance came from one of the catchiest and moving anthems of last year in “Dead Memories”.  Spot on also, as Corey sang his heart out in the center of the venue while the rest of the band was still on stage.  SLIPKNOT closed with the song we all love, “People=Shit”.  The way they made the song so powerful live was incredible, and like about every other song they played that night, the whole crowd sung along.  Hearing everyone in the room yell “PEOPLE=SHIT!!” was just beautiful. 

 
By the way things were going; everyone knew that there was going to be an encore.  And when SLIPKNOT came back to kill the stage again, the crowd went crazy.  Opening the encore with the anthem “Surfacing”, everyone knew what time it was.  Again with everyone singing along, this time it was the powerful message of, “Fuck it all, fuck this world, fuck everything that you stand for… Don’t belong, don’t exist, don’t give a shit, don’t ever judge me!!”  Seeing SLIPKNOT play this brutal offering live was one hell of a treat, and the band members ran around with authority.  Closing the encore was “Spit It Out” where SLIPKNOT let all of us Grand Rapids be a part of history.  If you’ve never seen SLIPKNOT live before, seen Disasterpieces, or heard of what happens in “Spit It Out”, keep reading…  Getting into the verses, the crowd was at full power jumping, running, swinging, really almost anything.  We all knew when the choruses came, for the whole venue was screaming “Spit It Out”.  Now, here’s the part where the band stops to only Mick’s chugging riff.  This is where SLIPKNOT told us to all crouch down and prepare to jump on their signal.  As we are all crouched down waiting in anticipation, finally the signal to “JUMP THE FUCK UP!” came, and I think I jumped higher than Kobe Bryant on that one.  All in one explosion, the whole venue jumped up and got back to the chaos of the SLIPKNOT concert.  And keeping the excitement at high, Joey Jordison and his drum set began to rise towards the ceiling, turned 90 degrees, and was blasting away while his whole drum set was facing the crowd.  This was one hell of an unforgettable night, and I hope to see each band in concert again in the future.

Label: Roadrunner Records
Website: http://www.myspace.com/slipknot1    

Photography by: JohnB – more of his work can be seen here: http://www.mwerocks.com  

Written by: Alex Gilbert

Unholy – New Life Behind Closed Eyes

Syracuse, New York’s UNHOLY unleashes a variety of heavy hitting attacks all bundled up into one big knockout punch!  The raw, aggressive, loud, and in your face message that UNHOLY spreads to the masses is done with such power and authority that it’s hard not to chant along.  The band has really created hype, and their loyal followers are soon to increase with their 2009 Prosthetic Records release, New Life Behind Closed Eyes.  UNHOLY has expanded their sound and the band really uses the low end effectively.  Accompanied with that are plenty of massive pickslides, death metal riffs, unique layers of melody, and crunching distortion blasts.  What really makes UNHOLY so great is the band’s musical direction, which I’m sure will continue to grow.  Upon listening to New Life Behind Closed Eyes, you can just feel that the band is bringing the roots with them in this modern age, and have spiced it up with even more pure, raw, and unfiltered aggression.    

Songs such as “Into The Flesh Of Another” give a full blast of raw power and energy.  From start to finish, UNHOLY delivers the pure and unfiltered brutality.  The intro gives the instant headbang that begins UNHOLY’s movement.  Not letting you go, a massive pick slide keys the verses that gallop away in a very catchy structure.  Around midpoint, the guitars attack with the low end hitting both the chugs and the opens, and UNHOLY tops it off with a squealing guitar solo.  Oh yeah, baby.  Closing the song at a pounding pace, the band leaves you breathless. 

Moving forward, “Behind The Veil Of Darkness” gives another straight with no chase metal attack.  The intro again shows off how UNHOLY can uniquely use the low end and continuously build it up.  Blasting into the verses, UNHOLY ferociously gets to business with an undeniable rhythm.  But when the chorus hits, a massive melody will move you as vocalist Billy Price screams the message.  Hold on to something tight, because when the band sets you up for the breakdown, all hell is about to be unleashed.  But this breakdown is special.  Stomping chugs match with massive distortion blasts making for the double trouble heavy hitting.  But wait, “Behind The Veil Of Darkness” sure ain’t done because you’ve got to turn up the guitar solo – didn’t see that coming, eh?  Boy it sure is a soaring lead, and those bends give the song such textures.  UNHOLY closes the song on those big breakdown notes and leave in a strong moment.  Once again you are breathless.    

Simply put, UNHOLY delivers the heat and is not backing down.  What continues to intrigue me is how UNHOLY takes those traditional elements we all have respect for and warp it with their own vision.  These guys are out to be heard, and that they will.  UNHOLY definitely helps me restore the spirit within the respective genres of hardcore and metal, and also helps me restore the spirit that music still has a meaningful message.  Hell, New Life Behind Closed Eyes kind of gives that vibe of a classic hardcore album from back in the day, blasted at full volume and kids rushing to buy the 7”.  And also keep in mind the absolutely eye catching artwork by Aeron Alfrey – this release gives the whole package.  And for only a band’s second full length, that means a lot.  Much respect for keeping it real!!

Rating: 7.5/10
Label: Prosthetic Records
Website: http://www.myspace.com/unholy

By Alex Gilbert

Gary Moore and Friends – One Night In Dublin: A Tribute to Phil Lynott

Like we mentioned in our review of their recently unearthed 1977 live album, Thin Lizzy were one of the most influential hard rock bands ever to grace a stage. With this sentiment in mind, former TH guitarist and blues rock great, Gary Moore got together with a cast of stellar musicians in Dublin, Ireland on one night in August of 2005 to pay tribute to the band’s iconic bassist/vocalist Phil Lynott who passed away in 1986. Joining Moore are guitarists Scott Gorham and Brian Robertson along with drummer Brian Downey who were all members of Thin Lizzy during the band’s run. Also featured is Jethro Tull’s Jonathan Noyce holding down the bass guitar.

Originally released in 2006, Gary Moore and Friends: One Night In Dublin (A Tribute To Phil Lynott) has just been reissued in Blu-Ray and the results are stunning. The picture quality is so sharp that every bead of sweat glistens from the screen while the punched-up audio pops from the speakers with clarity and power. The guitars sound particularly massive on “Jailbreak” with its revved-up riffing coming from Moore who handles the song along with Noyce and Downey in power trio mode. Thin Lizzy’s finest contribution will always be their masterful use of the twin-guitar melodies and they are in full bloom here. On “Emerald” Moore and Roberston bounce one stinging guitar lick after the other and at the same time weaving some of the most memorable melodies this side of classic Iron Maiden.

The night’s softer numbers aren’t to be missed with Night Life’s “Still In Love With You” finding the musicians injecting bluesy riffs into the 1974 ballad. 1976’s “Don’t Believe A Word” is dusted off and started off in the slower style that Moore used on one of his solo outings but about halfway through, the distortion kicks in and they launch off into the harder, original version that they recorded for the Johnny the Fox album. The thing that you take away the most after watching Gary Moore and Friends is how fantastic all of the players sound all of these years later. Sure, Thin Lizzy left behind some gorgeous material behind but it’s hard to imagine another crew of musicians doing it as much justice as these guys do.

Rating: 8/10
Label: Eagle Rock Entertainment
Website: www.eaglerockent.com

By Carlos Ramirez

Cannibal Corpse, The Faceless, Neuraxis, Obscura – SMN News live report

April 19, 2009 – Grand Rapids, MI @ The Intersection

The almighty OBSCURA made the first impression of the show a memorable one as they took the stage.  The band’s power and technicality just completely stunned the crowd.  Their razor sharp melodies, thrilling time changes, and shredding guitar solos continued to impress throughout, and those who may have not been familiar with OBSCURA now were.  The brilliant guitar counter attacks, precise drum blasts, and solid vocals of songs “Cosmogenesis” and “Anticosmic Overload” gave a full adrenaline rush, while “Universe Momentum” and its brain melting sweeps left many at awe.  While playing their instruments at such a high level as that, OBSCURA still had many ways to get the crowd involved with both guitarists and the bassist switching sides, calling for the crowd to join.  The death metal virtuosity that OBSCURA creates is absolutely amazing, and the live performance the band puts on is equally amazing.  OBSCURA all around is just that amazing, and out of this world.  Seeing them live gave their music a whole other dimension.   

Label: Relapse Records

Website: www.myspace.com/realmofobscura  

 
NEURAXIS opened their set with the futuristic metal assaults of “Dreaming The End”.  Let the headbanging begin, because the unique and progressively advanced way that NEURAXIS attacks extreme metal is for sure an attention grabber.  Getting into “Dreaming The End”, those massive riffs really make use of the whole fretboard, and the guitar tones sounded just as good live as on their most recent CD, The Thin Line Between.  Also spot on were the amazing, unique, and extreme flow of the drums that destroyed anything in its path.  NEURAXIS truly pleased their fans playing a wide range out of their discography, as well as capturing many first time listeners.  These highly talented musicians put so much detail into their music that one listen is definitely not enough to catch every detail within the music.  But that one listen while seeing them live is enough to say how all around badass NEURAXIS is with their stage killing antics.  Vocalist Alex Leblanc continuously got the crowd involved with his fist pumps, windmill headbanging, and commanding vocal range.  NEURAXIS closed their set with the epic fury of “Wicked”.  What really amazed the crowd was NEURAXIS’s use of both futuristic extreme brutality and when slowing down a tad into a jam, those Slayer-like hammer offs also take a deep black metal sort of vibe (it’s both in one!), and further proving how NEURAXIS expands the genres into unimaginable dimensions.  The band closed like there was no tomorrow, as the last chants of “Wicked!!” stunned the crowd one more time.  There was no stopping this beast!! 

Label: Prosthetic Records

Website: www.myspace.com/neuraxis  

 
Right as THE FACELESS took the stage, you knew that they were setting you up for something big.  Standing there speechless by their intense sampled introduction, you’ll be caught off guard with a furious opening riff with a timbre that called the brutality, and massive double bass drum accents making your spine wrench.  THE FACELESS weren’t afraid to show their faces, and they made sure to catch every angle of the venue to pump up the crowd.  Their hyperactive experimentation, insane sweeps, and bone crushing brutality were enough to make one worship their talent, especially since it was live right in front of us.  Literally, right in front of us because these guys were rocking out, and I’m sure the musicians in the crowd were watching the technicality and progression of the music very closely.  Playing a nice amount from their newest release Planetary Duality, THE FACELESS continued to rip faces off with brutal and unique offerings of “Coldly Calculated Design”, and “The Ancient Covenant”.  THE FACELESS are truly capable of expanding the genre of metal to who even knows where, and being able to see their vision and how they get it done live was absolutely incredible.

Label: Sumerian Records

Website: www.myspace.com/thefaceless  

Once the commanding power of CANNIBAL CORPSE took the stage, the legends of death metal kept the crowd involved with their ongoing killing spree.  Their set list consisted of both Cannibal classics and new songs from their 2009 Metal Blade release, Evisceration Plague.  From CANNIBAL CORPSE’s longtime reign in the scene, the band has truly become an icon in metal culture spawning many murderous metal attacks for others to follow.  The thrill of seeing the band live is always a pleasure.  CANNIBAL CORPSE opened their set with their newest single and title track, “Evisceration Plague”, and the massive pit started to form.  The pit would remain large from there on out, and CANNIBAL CORPSE killed the stage with crowd favorites such as “Skull Full Of Maggots”, “I Cum Blood”, and a special song for the ladies, “Fucked With A Knife”, that is.  Whether going off to the races with their speedy riffs and solos, or slaying us slowly with their pounding death metal, all in all the whole package deal remained energetic, extreme, and of course, fun.  CANNIBAL CORPSE closed their set with the classic “Hammer Smashed Face”, truly reminding the crowd what metal is all about.  As time changes, so does metal, but CANNIBAL CORPSE has and always will be amongst the leaders of all time.  Making sure their mark was left, their energetic stage presence and instrument technicality made for a night to remember.  Then it was time to swarm the CANNIBAL CORPSE merch booth.

Label: Metal Blade Records

Website: www.myspace.com/cannibalcorpse

Overall, each band’s level of extreme power and unique talent made this tour one of the best I’ve ever seen.  I hope to definitely catch each respective band in concert again soon.  Each band made the show one hell of an unforgettable night, and the headbanging did not stop at all.  Much respect to all!!

Photography by: Alex Gilbert

Written by: Alex Gilbert

Remaining Tour Dates
April 22 – Ottawa, ON @ Babylon
April 23 – Quebec City, QC @ Le Capitole
April 24 – Poughkeepsie, NY @ The Chance
April 25 – Richmond, VA @ Alley Katz
April 26 – Jacksonville, NC @ Hooligan’s Music Hall
April 27 – Jacksonville, FL @ Freebird Live

Harbour – To Have What You Once Hoped For

Canadian metal upstarts HARBOUR add a much heavier side into metal with their raw attitude of heavy hitting attacks, while at the same time giving some very strong and catchy emotion.  Their EP, To Have What You Once Hoped For, gives a full blast of energy, excitement, and a fresh cut of metal.  The band mixes both bone crushing brutality with a wide vocal range of both screaming and clean sung vocals, and HARBOUR really makes a respectable crossover.  The versatility of the vocals is really something to take note of, where we have guttural growls, high rasps, commanding chants, and irresistible clean melodic singing which all fits appropriately with the diverse instrumentation.  Getting into the instrumentation, the band has the chops to create some brutal and unique structures and can switch immediately to create some catchy and shimmering hooks.   

HARBOUR gets right to business with “Give Em The Boot”.  Straight up brutal assaults, frantic drum blasts, and screams ranging from high to low show the heavier side of HARBOUR.  But don’t forget about the more mellow side to HARBOUR because the melody accompanied with clean and welcoming vocals gives you a nice breather.  You have just got to give HARBOUR a hand for pulling off the style that they do so well.  And they aren’t afraid to get loud and let their voice be heard.  Also, when they change the mood so smoothly, it is something that truly sticks out.

“Belicose” comes straight at you with aggression and brutal structures that awaken the beast.  The song shows more of an extreme side to HARBOUR, and they continuously let loose on “Belicose”.  The massive wall of sound here shows that they’ve taken their lessons, and use them fully to their advantage.  The level of extreme comes at full force, to where the band shows great usage of the low end.  From deep grinding extreme metal tones in the breakdowns to the proggy chaos of the brutal structures, HARBOUR creates a variety of unique ways to get you headbanging, some being unexpectedly…

Closing the EP is the brutal and emotional offering of “Owls At Night”.  Sure we hear brutal songs everyday, but it is the ideas that HARBOUR interpret into their music that gives them a little differentiation.  Those strong melodies show some memorable moments, and again, their crossover onto the more extreme side really spices up their sound.   

HARBOUR’s explosive entrance with their EP, To Have What You Once Hoped For, is more than just a foot in the door.  These guys have masterfully taken from a wide range of influences to craft a style that they can call their own.  HARBOUR has found their musical direction and I am stoked for a full length in the future, especially after seeing HARBOUR’s potential.  And I believe that their musical direction will continue to grow in many ways.

Rating: 7/10

Label: unsigned

Website: http://www.myspace.com/harbourourmusic

By Alex Gilbert

God Dethroned – Passiondale

When done right, fast-paced European death metal is unstoppable. The problem is there’s been a lack of it lately when it comes to the quality department. It’s not surprise that it took a veteran group like God Dethroned to kick the scene in the ass again. On the soon to be released Passiondale, the Dutch act drop one piercing guitar riff after the other giving drummer Roel Sanders no choice but to keep his bass drum pedals working overtime. His impressive footwork and blast beats here are nothing short of spectacular. It’s a shame more people don’t talk this guy’s playing more. On “Under a Darkening Sky” Sanders’s mighty performance brings to mind the work of the great Tony Laureno (Nachtmystium, Dimmu Borgir) who coincidently played with God Dethroned in the past.

Passiondale lyrics are threaded together by a story based around a European village ravaged by WWI and the cold production, courtesy of Jörg Uken and vocalist/guitarist Henri Sattler captures the spirit. The guitars have bite to them but stand out melodies are woven into the arrangements from song to song. The album charges at full tilt for most of its duration but God Dethroned still take some interesting detours. “Poison Fog” features the clean and left-of-center vocals of Marco v.d. Velde of the band The Wounded. His part comes out of nowhere yet compliments the song proving Uken and Sattler’s instincts right. This band has been around since the beginning of the 1990s and popularity has eluded them for the most part but albums this good shouldn’t be ignored.

Rating: 8/10
Label: Metal Blade Records
Website: www.myspace.com/villavampiria

By Carlos Ramirez

Lazarus A.D. – The Onslaught

Kenosha, WI isn’t exactly a hotbed for metal bands but if Lazarus A.D. are trying their hardest to change that perception. The hard-working outfit inked a deal with Metal Blade Records last year and they just released, The Onslaught, their first album for the legendary label. The quintet specialize in the kind of mid-paced thrash that bands like Exodus and Sacred Reich favored in the early 90s. Bassist/vocalist Jeff Paulick has the kind of snarl made for this kind of stuff while his annunciation keeps every lyric right in focus. The guitar team of Alex Lackner and Dan Gapen keep things interesting with a tight balance of thick riffing, memorable counter melodies, and the kinds of solos that get lodged into your head from the first listen.

The recording could have used some more grit in the mix but it’s not a deal breaker by any stretch. Points must be given to the band for having the balls to self-produce either way. Throughout the album, Lazarus A.D. prove their songwriting prowess time and time again. Instead of cramming their arrangements with 50 riffs per song, they hold back, going with an economic use of only the essentials to pull off the moments. That doesn’t mean they don’t show off their formidable playing skills. On songs like “Last Breath” and the crushing “Forged In Blood,” the guitars and double bass drum attack is in full display. This is a young band who have done their homework.

Rating: 7/10
Label: Metal Blade Records
Website: www.myspace.com/lazurus1

Millions – Gather Scatter

Chicago band Millions has come out with an uproarious debut in Gather Scatter, an album that is hard to pinpoint into one genre. At some points, it’s an edgier version of Queens Of The Stone Age; at others, it’s the vile spawn of Black Flag and Iron Maiden. The band comes out guns-a-blazing, not letting up for 27 minutes, while keeping themselves to a three-and-a-half-minute time limit on the majority of the tracks. Their sound is tight and compact, with guitar harmonies, heavy distortion, and a biting glimpse into our bleak present-day civilization.

Life sucks; we all know it. Millions does too, as evident by the lyrics to “View From A Sinking Ship” and “We Make Poor Decisions.” Lines such as “I can’t eat, and I can’t sleep, and when I try, it’s crashing cars” and “he voided his life of a purpose, by staying the same” are barked into the listener’s ear, slowly breaking the myth of the American dream word by word. To be able to convey this message to maximum effect, the music has to provide a solid foundation to build off of.

Millions succeeds in strides on the musical front. Guitarists Corey Lyons and Scott Flaster are a dynamic duo, with a strong chemistry full of distorted melodies and frantic harmonic lead work that matches the chaotic nature of the album. The rhythm section of bassist Mark Konwinski and drummer Pat O’Shea are the backbone of Gather Scatter, with the former the driving force behind the main verses of “Mile High Cake.”

Gather Scatter is able to keep the momentum at a high level, only dipping slightly with the short “Pickpocket” and drawn-out closer “We Make Poor Decisions.” The former is too brief to mean anything, though it had much potential. The latter starts out with a bang, and continues that way for the first half, descending into sheer madness for the second half. Heavy feedback creates a wall of sound that pierces the ear drums, before slowing down into an unnecessary extended bass outro, which dulls the senses by its end.

Gather Scatter is nothing if not a glance into the darker side of life, a post-modern look at what we as a society have degraded ourselves to. It’s an ambitious concept, one that Millions is more than capable of undertaking. In this loud journey into madness and despair, there is nothing but grim and filth around every corner, making Gather Scatter the perfect soundtrack for the outcasts of society.

Rating: 7.5/10
Label: Seventh Rule
Web Site: http://www.myspace.com/millionschicago

By Dan Marsicano