Archive »Browsing all articles in Reviews.

Fear Factory – Mechanize

On Mechanize, FEAR FACTORY goes back to their roots, playing the influential industrialized metal that people grew to love on Soul Of A New Machine and Demanufacture.

Let’s face it, after Obsolete, FEAR FACTORY were a mess. Some say their cover of Gary Numan’s “Cars” led to their downfall, alienating die-hard fans. They weren’t helped by contract obligations and troublesome managers, turmoil in the band that led vocalist Burton C. Bell to quit in 2002, and the well-publicized fallout between Bell and guitarist Dino Cazares, which led to Cazares’ getting sacked. They carried on with Christian Olde Wolbers switching from bass to guitar and enlisted former STRAPPING YOUNG LAD bassist Byron Stroud, recording Archetype and Transgression to little fanfare.

Then came the announcement in mid-2009 of a new FEAR FACTORY formation with Bell, Stroud, mammoth drummer Gene Hoglan and Cazares. That caused Olde Wolbers and original drummer Raymond Herrera to split, forming ARKAEA and forcing a legal dispute over the FEAR FACTORY name.

With Mechanize, Burton and Cazares have put their differences aside and created something that will restore the faith of the FEAR FACTORY faithful. The band’s chemistry has been rekindled. Obtaining Hoglan doesn’t hurt, either: he’s one of metal’s premier drummers. And Cazares shows he has something to prove. Cazares’ trademark riffs, precise in their execution, mixed with Hoglan’s monstrous drumming give Mechanize a maturity that has been missing since Obsolete.

The title track stays true to FEAR FACTORY’s mechanical precision, with the sound of machines pounding away right from the start, then leading into a blistering riff from Cazares. Throughout the song, Bell mixes melodic vocals and haunting spoken word passages, with the aggressive bark he’s known for. “Powershifter” was featured on YouTube months before the release, and the response and comments were unanimous: FEAR FACTORY were back.

Three standout tracks — “Fear Campaign,” including a Cazares guitar solo, “Christploitation” and “Oxidizer” — take an aggressive approach with touches of classic melody that FEAR FACTORY brilliantly weave into such pummeling songs. “Controlled Demolition” deserves a mention as well. Actually, every song on Mechanize kills; there are no filler tracks here. This is the perfect mix of FEAR FACTORY and STRAPPING YOUNG LAD, maybe to the dismay of some fans, but it seems to work.

Mechanize is highly produced, some might think overproduced. But previous FEAR FACTORY knob-twirler/keyboardist Rhys Fulber has been welcomed back, and it’s an obvious choice. Fans will not be disappointed with Mechanize, and they’ll be reminded of why FEAR FACTORY were one of the most important bands of extreme music at one time. An absolutely necessary purchase.

Rating: 9/10
Label: AFM Records
Website: www.fearfactorymusic.com

Written by Kelley Simms

Charred Walls Of The Damned – Charred Walls Of The Damned

Well-known metal drummer and Howard Stern sidekick Richard Christy’s new band, CHARRED WALLS OF THE DAMNED, is a conglomeration of heavy metal’s finest musicians.

I don’t like to use the term “supergroup,” but the band’s incredible lineup — Tim “Ripper” Owens (vocals), Steve DiGiorgio (bass) and famed producer Jason Suecof (guitars) — is pretty spectacular. The players have been friends with Christy from previous bands, so the chemistry to create the kind of metal that they are all fans of and would want to listen to is definitely present. With three of the four guys being ex-Iced Earth members, there will undoubtedly be comparisons, but CHARRED WALLS OF THE DAMNED is not simply an Iced Earth ripoff.

Christy wrote all of the lyrics, and the album took two years to complete. “Ghost Town” has been previewed on their MySpace page for months, and the eerily awesome video debuted this week on various Webzines. The song proves to be a great opener to this nine-track CD. The technical aspect of the band is top-notch. Each song flows well and never gets boring. Owens’ voice is in fine form, and the rest of the band play their parts exceptionally well.

“Blood On Wood” emerges with a cool-but-brief funklike bass line from DiGiorgio, followed by an excellent chorus line and some sweeping guitar leads from Suecof. “Voices Within The Walls” has an Iced Earth and Demons and Wizards flavor to it, especially Suecof’s intro lead and melody line. Suecof’s guitar prowess is pretty amazing; his stamp is all over the CD (he also produced it). He pops up at the right moment to execute a tasty guitar lick and guides the song with precise riffs. Christy’s drumming is solid, and he adds the right fills at the right time without overpowering the song. His double bass technique and rhythm changes are executed with tasteful precision. CD closer “Fear In The Sky,” handles how Christy feels about flying. The song is chilling; you’ll really feel the emotion of what Owens is singing, and the tempo changes add to the excitement.

This is an excellent album, from Christy’s introductory drumming to the climactic conclusion. However, DiGiorgio’s bass is mixed too low and doesn’t stand out, which is a shame because he is one of metal’s premier bassists. Given that one bad point, I think Christy hit the nail on the head with CHARRED WALLS OF THE DAMNED’s debut album, and it definitely deserves the fans’ attention.

Rating: 9/10
Label: Metal Blade Records
Website: www.myspace.com/charredwallsofthedamned
By Kelley Simms

Troll – Neo-Satanic Supremacy

There are very few bands that can pull off extreme black metal, the real way of doing it, that is.  Bands that always seem to come to mind first are Dimmu Borgir and Behemoth.  Well now you had better add TROLL to that list.  The selling point that is going to catch your eye first is that ex-Dimmu Borgir / The Kovenant vocalist Nagash is summoning Satan in TROLL with his cold, grim, and pure evil rasps.  To be honest the band really does sound a lot like Dimmu Borgir, but the big difference is that TROLL unleashes more of a classic kind of evil.  Yes there are plenty of extreme brutalized riffs with some blastbeats, and even those dark symphonic parts that Dimmu Borgir does so well, but those of you tr00 (too kVlt for you) black metal fans will also find a lot to love about TROLL, too!  The band takes a ton of classic black metal to the helm, and in my eyes finds the perfect crossover point, so regardless of how you like your black metal to sound, everyone should be able to get into TROLL’s latest Napalm Records masterpiece, Neo-Satanic Supremacy.  TROLL has been around since 1992, eventually trailed off to become Nagash’s side project, and it wasn’t until 2007 the band would become a whole once again.  I’m sure glad they did.

TROLL’s blasphemous attack continues throughout Neo-Satanic Supremacy with great symphonic black metal, crushing guitar work, and drumming that tick franticly to your doom.  Album opener “Til Helvete Med Alt” is absolutely crazy: fast, cold, grim, and has some great melodies which the symphonic arrangements play alongside to.  It’s great because the symphonic parts are never overplayed, and “Til Helvete Med Alt” really introduces you to the unholy force that is TROLL.  “Morkets Skoger” unleashes all hell coming out with an eerie and powerful symphonic arrangement, dark melodies, and one phenomenal vocal command by Nagash.  The time changes in “Morkets Skoger” are great, switching back and forth from fast as fuck Christ grinding tremolo picking to that slaying black metal pounding you down to the depths of hell.  The album closer, “Age Of Satan” ends on such a strong and epic note, and TROLL certainly proves their point that they can hang with the big dogs.  They really perfect that classic blackened evil sound and Nagash’s chant of “This is the age of Satan, God is dead” definitely pursues TROLL’s message in a straight forward manner.  An excellent song and definitely an excellent album. 

It’s also incredible how TROLL seems to expand their sound with every step – play Neo-Satanic Supremacy from start to finish and hear for yourself.  TROLL is damn near the unholy and apocalyptic black metal force at its finest. This is the evil of 2010!  Go buy it now!

Rating: 8.5/10
Label: Napalm Records
Website: http://www.myspace.com/troll

Written by: Alex Gilbert

Dark Tranquillity – We Are The Void

Melodic death metal pioneers DARK TRANQUILLITY are back with their ninth studio album, We Are The Void, celebrating the band’s 20th anniversary. I have only been a casual fan of DARK TRANQUILLITY. Nothing they have done has ever truly grabbed me, but the band does possess some talent for what they do.

Part of the original Gothenburg scene, DARK TRANQUILLITY has a heavier sound and more of a black-metal influence than fellow countrymen IN FLAMES. On We Are The Void, the Swedish sextet create moody slabs of emotion with an abundance of heavy keyboard arrangements to go along with their intricate riffs. The death growls of Mikael Stanne are standard fare from a band of this genre, but they add character to the bands sound. The technical aspect of their music is more challenging than some of their peers, thus making DARK TRANQUILLITY a standout in this style of metal. DARK TRANQUILLITY has a formula that they’ve only slightly modified a couple of times, but basically has remained the same for their 20 year-span.

Opener “Shadow In Our Blood,” displays some tight riffing and some good leads from guitarists Niklas Sundin and Martin Henriksson. Breaking into his clean vocals on “The Grandest Accusation,” Stanne explores the moody side of the band, mixing it up with his trade mark harsh growl and different tempo changes. “Her Silent Language” sounds a little too close to an In Flames song in some parts. Haunting, almost goth-like closer “Iridium,” is layered with huge sounding tremolo guitar riffs and prominent keyboard accompaniment. It moves along at a melancholic-pace, but a good closer, and it’s the longest song on the album at six-plus minutes.

We Are The Void continues the consistent sound of DARK TRANQUILLITY and will keep them in the forefront of the melodic death metal genre. They aren’t exploring any new boundaries, but the band stays true to the Gothenburg style and the formula of creating good Swedish melodic death metal, and that’s all you can ask for in a DARK TRANQUILLITY album.

Rating: 7.5/10
Label: Century Media
Website: www.darktranquillity.com

By Kelley Simms

Blaze Bayley – Promise and Terror

Former WOLFSBANE and IRON MAIDEN vocalist Blaze Bayley was never largely accepted as Bruce Dickinson’s replacement in IRON MAIDEN back in 1994 during his five-year tenure with the band, while recording two albums for the British heavy metal veterans. The problem most die-hard Maiden fans had with Blaze was his vocal range, it was too low for the earlier Maiden material. He doesn’t have a bad voice, it just didn’t fit the Maiden mold of their previous singers. Blaze did co-pen some memorable songs that Maiden occasionally perform live to this day.

On BLAZE BAYLEY’s fifth studio album, Promise and Terror, the second album released by the band since they changed their name from BLAZE, we are treated with 11 songs of traditional heavy metal. Compared with their previous CD, The Man Who Would Not Die, Promise and Terror introduces different elements as varied as NWOBHM, progressive sounds and some slight Swedish melodic twin guitar harmonies. The album as a whole is more catchier and accessible.

Opening with “Watching The Night Sky,” the fast-paced riff is similar to a Maiden song, complete with whoa-oh-whoa-oh sing-along parts. The chorus shows Blaze’s great vocal range as well as some killer guitar leads and great drum fills throughout the song. Definitely a good start to the album. “Madness and Sorrow” and “1633″ follow suit by continuing with sharp riffage, melodic leads and memorable choruses. The intensity level the band show on the first half of the album remains the same on the rest of the songs.

In this day and age, we need a band like Blaze Bayley to keep the heavy metal torch ablaze (pun intended). Promise and Terror is just good head-banging foot-tapping metal that should appeal to many fans of this genre.

Rating: 8/10
Label: Blaze Bayley Records
Website: www.blazebayley.net

By Kelley Simms

VTT – Symptoms Of Sin

New Jersey act VTT unleash that heavy metal we all love and grew up to know so well.  VTT’s latest, Symptoms Of Sin, has this classic rock/metal vibe to it while kicking a ton of ass at the same time!  With loads of heavy distortion, melodic heavy metal, and some acoustic breaks making up the majority, VTT is a heavy hitter and one to be reckoned with.  The beauty of Symptoms Of Sin is that VTT really makes the most out of their melodies, and is able to create an album full of quality songs, not worrying about being the fastest, br00talest, or most technical band out there.  Whether hitting heavy with the metal assaults or unleashing an alternative metal side, VTT’s song structure is solid. 

Diving into Symptoms Of Sin, there are plenty of singles to rock your socks off such as “You’re My Punishment”, and “Never Died Before”, which give a raw yet accessible approach.  Make sure you take note of Gil PZ’s vocal delivery, because this guy can growl, howl, and everything in between, putting that extra exclamation mark in their music!  VTT also knows their traditional thrash pretty well, where they let that shine in “Wake Of The White Devil”.  Whatever method of attack they take, even with the hearty doses of alternative metal, VTT seems to use it to their advantage well.   

Symptoms Of Sin unleashes a ton of soul, rock and roll, and most importantly, the classic metal that we all seem to take for granite these days.  Take a second, pause, and check back into metal’s roots, and Symptoms Of Sin in a way acts like a reminder to the glory days, with a classic sort of evil in the mix.  Fans of loud heavy metal need to check out VTT now.  

Rating: 7.5/10
Label: unsigned
Website: http://www.myspace.com/VTTrocks

By Alex Gilbert

Helix – Vagabond Bones

Canadian rockers HELIX, known for hits “Rock You” and “Deep Cuts the Knife,” have just released their 12th studio album in 35 years, Vagabond Bones.

Reuniting with the ’80s lineup, mainstay vocalist Brian Vollmer and the boys don’t know how to quit; it’s not in them to give up. This determination has led to their perseverance in the music business and is the reason why they are still around in 2010. HELIX have kept creating new music and have developed a loyal fan base throughout the years by continuously touring. The trademark sound — great hooks and harmonious choruses — is intact. Vollmer and Co. have always had a knack for writing catchy songs.

With a voice that is strong and distinctive (credit his extensive Bell Canto training), Vollmer can still belt out the notes. And longtime guitarist Brent Doerner’s guitar hooks are as infectious as ever. It’s all about creating good songs for Vollmer and crew. Vollmer and former bass player Sean Kelly have struck up a writing kinship that seems to be pretty strong; they also produced the record with Aaron Murray.

Opener “The Animal Inside (Won’t Be Denied),” “Go Hard Or Go Home,” and the title track are classic HELIX rockers. “Monday Morning Meltdown” is a catchy song with a groovy feel and great harmonies. “Hung Over But Still Hangin’ In,” a duet with fellow Canadian Russ Graham of the KILLER DWARFS, is an equally catchy number.

If ’80s-style rock with big hooks and catchy chorues is your bag, then HELIX’s arsenal of rockin’ tunes will not disappoint.

Rating: 8/10
By Kelley Simms
Website: www.planethelix.com

Sigh – Scenes From Hell

SIGH. The word, and the Japanese black-metal band, can express a variety of emotions. On their eighth release, Scenes From Hell, the band is in fine form.

Mirai Kawashima (vocals/keyboards), the ultra sexy Dr. Mikannibal (vocals/saxaphone), Shinichi Ishikawa (guitar), Satoshi Fujinami (bass) and Junichi Harashima (drums) create a mesmerizing mix of classical, symphonic, progressive, black metal and what I like to call militaristic evil carnival music that result in something unique.

For nearly 20 years, SIGH has been pushing the boundaries of what black metal should or shouldn’t be. DIMMU BORGIR and other black-metal bands have brought orchestral arrangements to their songs, but Sigh has based the songs around the orchestra instead of using the orchestra as just atmosphere. It’s not so much a guitar-and-drums-driven album; it’s a symphonic assault that just sounds killer.

This time around, Mirai painstakingly wrote and scored real horn and string arrangements. The brass instrumentation is massive and powerful, up front and center, as the main musical dominance. What you get on Scenes From Hell is a mesh of music that is grandiose, epic and majestically evil. The musical storytelling is something of a masterpiece. Scenes From Hell is a vivid description of what death and Hell would be like and what happens to people there, versus the lyrical journey of ICED EARTH’s “Dante’s Inferno.”

“The Soul Grave” is a descriptive inclination at best, as to the horrific visual thoughts and aural assault SIGH unleash. “L’art de Mourir” reminds me of the style displayed on Hangman’s Hymn, but even more brutal. “The Summer Funeral” is a brooding piece with an eerie grand piano section at the 2:13 mark, as well as an emotionally-charged guitar solo toward the closing. “Musica in Tempora Belli” moves along at a blistering pace, with Mirai and Dr. Mikannibal trading vocal lines and the Dr. adding a saxophone solo.

The only problem with “Scenes From Hell” is that the vocals are too low in the mix.They seem to get lost and become undecipherable in some parts. But the songs and arrangements are superb, making Scenes From Hell a musical journey of evil proportions.
Rating: 8.5/10
By Kelley Simms
Website: www.sighjapan.com

Revocation – Existence Is Futile

REVOCATION and their latest Relapse Records release Existence Is Futile is easily one of the best albums of the year.  Their shredding thrash / death metal virtuosity is incredible, and the balance between technicality and absolutely crazy song structures is perfect.  And how REVOCATION creates such a colossal sound for being only a 3 piece?!  Man oh man do they have a massive sound.  I mean, I know there are a lot of shredders out there, but there aren’t too many that can expand the shred like REVOCATION does. 

Guitarist Dave Davidson is a madman, as he sure gets things started with “Enter The Hall”.  The riff work is incredible, and really keys the listener that some big things are about to happen.  “Enter The Hall” is the perfect intro.  When REVOCATION is off to the races, they take you into headbanging glory!  The title track “Existence Is Futile” unleashes this as their stylistic and extreme balance of the death and thrash metal forces dominate all!  “Dismantle The Dictator” unleashes sick fretboard action, with both riffs and speedy guitar solos.  The guitar tones are huge, and let’s not forget about drummer Phil Dubois and bassist Anthony Buda tearing it up back there, too!  “Dismantle The Dictator” has this very catchy yet commanding vibe to it, and its fresh technicality is ace.  Other absolutely crazy songs on Existence Is Futile like “The Brain Scramblers” does exactly as the title suggests, taking a ton of sub genre metal influence and masterfully combining into one.  “The Brain Scramblers” is one hell of a heavy hitter!    

Make sure you catch REVOCATION on the SMNnews sponsored METAL AS ART Tour, alongside Hypno5e and The Binary Code.  How amazing their talent is on CD, is that same amazing that REVOCATION backs up live!  They put on one hell of a show.  REVOCATION is definitely one of the newer bands to redefine and restore faith by all means of death/thrash metal. 

Rating: 9.5/10
Label: Relapse Records
Website: http://www.myspace.com/revocation

By Alex Gilbert

The Binary Code – Suspension Of Disbelief

First off, when you listen to THE BINARY CODE’s latest, Suspension Of Disbelief, you must listen to it from start to finish.  They draw influence from so many different places, and it’s the way they combine them all into one that makes for such a magnificent sound.  With a drummer who’s set to let off any second and ace guitar work that’s both delicate and brutally demanding, THE BINARY CODE is not your average metal band – they are above that.  With all of that being said, let’s move into Suspension Of Disbelief…

The title track, “Suspension Of Disbelief” plays hand and hand with a part one and part two.  Part one starts off packing the punches with some mega distortion that grinds deep, while the verses unleash a proggy and obscure structure.  Part two begins on a clean and delicate riff until that said riff begins to take form of a monster, stomping all over the track, commanding the listener.  THE BINARY CODE is at their heaviest with “Ghost Planet”, which by the way is an absolute beast of a song!  I love the stop and go attacks, and THE BINARY CODE continuously builds this song up with gigantic guitar tones, incredible death metal sensibilities, and even some shredtastic riffs.  “The Story” is where I see these guys finding their sound.  THE BINARY CODE really gets epic with this one, and takes you to a far away place in prog land.  Right away I picture the more melodic yet still bashing side of Sumeriancore.  “The Story” is very complex, and THE BINARY CODE really lets their textures and colors shine!  Sure enough the song builds up in all sorts of madness, sweeping technicality all over the track.  And how about that dual guitar work?!  Whew, gotta come back to that one.      

This is one of those albums that will really grow on you, so make sure you keep it in rotation!  This being said because the first time through you aren’t going to catch every detail, because there is so much going on.  Also, make sure you check out THE BINARY CODE live on the SMNnews sponsored METAL AS ART Tour alongside Hypno5e and Revocation. 

Rating: 8.5/10
Label: unsigned
Website: http://www.myspace.com/thebinarycodenj

By Alex Gilbert

The Few Against Many – Sot

THE FEW AGAINST MANY are definitely one of the unsung heroes of 2009, and have a really badass band name by the way.  Hailing from Sweden, these guys seriously unleash some of the best modern death metal around right now.  They have such a monstrous stomp that is undeniable, and as ferocious as they can be, they’ve also unleashed some of the most memorable melodies of the year, too.  Their debut, Sot, has 8 death metal tracks, where 6 are sung in Swedish and 2 are sung in English.  Though I don’t speak Swedish, I don’t care what language they are speaking in, for the music itself sounds badass.  Also to take note of, THE FEW AGAINST MANY features ex Scar Symmetry vocalist Christian Alvestam, and he does an excellent job delivering the solid punch.  Sot has such a command for just a debut, and a hell of a lot more command than the majority.

Let’s start off with the best.  “Brand Mark” is the perfect example of THE FEW AGAINST MANY’s power, potential, and progression.  This song single handedly got me soooo stoked on this band, that I kept going back to listen to it again, again, and again.  The intro comes out at full force with both death metal arms swinging, and a shocking synth accompanied by female high pitched operatic chants.  And not loosing the integrity of the sound at all, the chorus claims THE FEW AGAINST MANY the most memorable on Sot.  Put “Brand Mark” on repeat!  “Hadanfard” is another great song with that deep aggression, and man oh man I’ve got to say that THE FEW AGAINST MANY has some great intros.  The song builds up in both a brutal and eerie way, and “Hadanfard” really uses the synth to its advantage.  The title track “Sot” gives a steady gallop down towards hell, and this is THE FEW AGAINST MANY at their darkest.  I really like this side of them, and the band stops for no one, keeping it heavy throughout.

My one criticism is that Sot gets a little too cheesy for me at times.  Yes synth and death metal mix well and many have done it (good and bad), but it’s when they put in more of the poppy synth, the album just lags and I fell the need to fast forward back to the action.  When their synthesized atmosphere gives more of a dark and apocalyptic sound, THE FEW AGAINST MANY are unstoppable (listen to “Brand Mark”).  For Sot being just a debut, it is still damn good, and these guys have so much potential.  I can already forsee their next album taking them to the next level. 

Rating: 7/10
Label: Pulverised Records
Website: http://www.myspace.com/thefewagainstmany

By Alex Gilbert

Baroness – Blue Record

BARONESS and their latest masterpiece, Blue Record, could very well be the album of the year.  The band takes from the finest movements in rock, the artsy moments in metal, and BARONESS’s memorable melodies shine throughout.  The guitar teamwork is absolutely incredible throughout on both a unique and stylistic level.  This album just really makes you feel good, pulls your hearts strings, and lets you live within the music.  Holy shit does this album just suck you in! 

“Swollen And Halo” gives the vibe of a classic song, and shows the rock giants in BARONESS at their most memorable, though it’s hard to say because this whole record is pretty damn memorable.  The distortion really hits hard, and the band transitions into such shimmering melody that pulls the hearts strings in every which way.  The guitar tones are monstrous, moving, and well, perfect.  “The Sweetest Curse” unleashes the more metal side of BARONESS, and they really know how to kick some ass!  The band really picks up the pace and the heaviness on “The Sweetest Curse”, and the BARONESS beast is coming at you with something to say.  Other stunners like “A Horse Called Golgotha” unleash both pretty and ferocious riffs that move oh so swiftly, and then you’ve got the song “Jake Leg” that sounds as if the hometown heroes are marching back from victory, and holy shit I say for the second time, those melodies are incredible.  “Jake Leg” even has this crazy psychedelic twist to it, and it seems like whatever genre BARONESS puts into their formula, it all goes hand and hand for a great song, and ultimately an album full of quality songs from start to finish.

Without a doubt, Relapse Records has kicked the most ass in 2009, and Blue Record is the album to save rock and roll.  With this beautiful of a musical direction, Blue Record has made BARONESS true icons in rock culture.  Go buy this now, as it’s absolutely mandatory to do so!

Rating: 10/10
Label: Relapse Records
Website: http://www.myspace.com/yourbaroness

By Alex Gilbert

Hatebreed, Cannibal Corpse, Unearth, Born Of Osiris, Hate Eternal – SMNnews exclusive live review!!

HATEBREED, CANNIBAL CORPSE, UNEARTH, BORN OF OSIRIS, HATE ETERNAL – SMNnews exclusive live review

Dec 13, 2009 – Grand Rapids, MI @ The Intersection

Death metal giants HATE ETERNAL opened up the show with a bang.  The band played plenty of their bonecrushing onslaughts such as “I Monarch”, “Behold Judas”, and “Bringer Of Storms”.  Just seeing HATE ETERNAL mastermind Erik Rutan shred was a treat by itself.  While the band was short a rhythm guitarist for the show, HATE ETERNAL definitely made up for it in the long run.  Hailing from the legendary land of death metal in Florida, HATE ETERNAL is one of those Floridian icons taking risks, trying something new, and continuously changing the face of extreme death metal.  And seeing them live finally was a pleasure. 

Label: Metal Blade
Website: http://www.myspace.com/haeteternal

Written by: Alex Gilbert

Full of energy and amazing progressive metal out comes BORN OF OSIRIS (BOO). Everyone knew what to expect and knew the show was going to be intense. After playing a completely solid mix from both of their releases, the song that everybody wanted to hear, “Bow Down”, came on and everyone rushed the stage, climbing over each other. Pure energy filled the room when the final song came on. As the closer, BOO played “Open Arms To Damnation” and completely killed the rest of the show. Amazing guitars, drumming, and vocals killed The Intersection and got the rest of the show on it’s feet.

Label: Sumerian Records
Website: http://www.myspace.com/bornofosiris

Written by: Matt Haines

UNEARTH put on the best stage presence of the night in my opinion. Who doesn’t like a band that does beerbongs on stage and starts jumping off their stacks while swinging their guitars around on their wrists? Just pure genius and along with that, just amazing metal. “My Will Be Done” was the second song they played, just hyping up the fans for the rest of the brutality to come. It was my first time seeing them and they didn’t disappoint at all. To top off the rest of their mind-blowing concert at The Intersection, they played “Zombie Autopilot”, which was greatest ending to have to such an amazing show they put on.

Label: Metal Blade
Website: http://www.myspace.com/unearth

Written by: Matt Haines

Once the legendary CANNIBAL CORPSE took the stage, the live cannibalism began.  The band played many cannibal classics including “Hammer Smashed Face”, “I Cum Blood”, “Skull Full Of Maggots”, and one for the ladies, “Fucked By A Knife”.  The band played plenty off of their latest release, Evisceration Plague, including the title track which opened their set and opened the madness in The Intersection.  Their intensity was incredible, and watching all of their frantic fretboard work was mindblowing.  For any true metalhead, seeing CANNIBAL CORPSE live is absolutely mandatory, each and every time. 

Label: Metal Blade
Website: http://www.myspace.com/cannibalcorpse

Written by: Alex Gilbert

Hardcore legends HATEBREED headlined the night, and from being in the game for so long and seeing them multiple times, this is the most fired up I’ve seen HATEBREED, ever!  HATEBREED played plenty of fist pumping anthems from their latest self titled release like the show opener “Everyone Bleeds Now”, and other great selections like “Become The Fuse”.  And for the die hard HATEBREED fans, the band did not disappoint.  Plenty of HATEBREED classics like “Perserverance”, “This Is Now”, and “To The Threshold” stunned the whole building, creating some of the biggest circle pits still to this day my eyes have seen. 

The beauty that HATEBREED tapped us all about was unity.  Whether it’s hardcore, metal, punk, or whatever, we all came to the show to have a great time, and to treat everybody equally regardless of race, age, sex, religion, etc., in which a huge part of this world is unfortunately blind to.  They judge us by saying metal and hardcore is caveman and depressing music, which just makes me laugh.  While every respective person has their own take on music, metal and hardcore is a great outlet so we don’t become those people who judge others because of their cover; we look into one’s personality. 

With HATEBREED still being one of the most honest, authentic, and brutal hardcore bands out there, these guys have been sticking to their guns, keeping it real, and keeping the positive message for one to keep their head held high.  All you stupid haters out there bitch about all of their music sounding the same or Jamey Jasta selling out, etc., etc.  So HATEBREED has found ways to channel their music to bigger outlets while keeping their sound and ethics.  I say, “good for them!”, and like I’ve said before, I will openly debate any of you (leave a comment!).  From creating one of the best hardcore albums of the year and still unleashing one of the best live performances for the underground to see, HATEBREED is already icons in hardcore culture, and will continue to be one of the most important bands to continuously keep the underground alive. 

Label: E1 Entertainment
Website: http://www.myspace.com/hatebreed

Written by: Alex Gilbert

Photography by: Matt Haines

Fashion Bomb – Visions Of The Lifted Veil

FASHION BOMB’s sophomore effort, Visions of the Lifted Veil, continues the industrial-tinged metal formula the Chicago-based band delivered on their 2006 debut, Devils to Some, Angels To Others.

Vocalist Val has a voice that can scream, croon or melodically carry a song while bandmates Trace and Acid lay down hypnotic and pulsating bass and guitar rhythms, respectively. Trace and Acid also contributed to recording the drum parts; other band members, simply known as Drone1 (drums) and Drone2 (guitars), are used in the live setting.

Produced by Raymond Herrera (Fear Factory, Arkaea), with mixing and production by Jeremy Blair (Guns N’ Roses, Ill Nino), Visions of the Lifted Veil is full of melodic-yet-angry hooks, distorted buzz-saw riffs, rumbling bass lines and precision syncopated percussion rhythms. Programming and samples add to the overall psychotic tone and atmosphere of the compositions.

Val takes an apocalyptic approach to his lyrics: poetic and mostly metaphorical.
“The record references aspects of the end of days and the completing of the circle.” he said. “It addresses the preventability of our own destruction and the inevitability of human nature.”

“The Meek,” which debuted on the band’s Web site two months before the official release, commands your full attention. Tool-esque “The Vow” is a moving and emotional display of songwriting. On “Sick One,” you won’t be able to control yourself from chanting Sick! Fuck! Sick! during the chorus. The pulsating rhythm of “Detritivore” and the Ministry-like riff of “The World Will End With Us” help deliver some great sounding tracks.” Fashion Bomb’s choice of cover songs always has a unique twist, such as Mötley Crüe’s “Looks That Kill” from their debut. On this release, they surprisingly cover Tori Amos’s “Crucify” in true FASHION BOMB style.

The only downside to Visions of the Lifted Veil is that some songs sound too familiar, as if the band’s influences start to invade their own sound. But that isn’t necessarily a bad thing. Fans of Tool, Ministry, Marilyn Manson, Disturbed, Fear Factory and NIN will find something very likeable about Visions of the Lifted Veil.

Rating: 8/10

Label: Full Effect Records

Website: www.fashionbomb.net

By Kelley Simms

Xerath – I

UK progressive metal outfit XERATH has the potential to be big!  Their self dubbed “Filmscore Metal” (Chug-Score) plays hand and hand with their epic orchestral composition, and the backing brutality makes for an amazing soundscape!  The band takes influence from Meshuggah, Dimmu Borgir, and Strapping Young Lad, and while each influence becomes extremely evident in the band’s approach, the band still does things the XERATH way, creating massive, epic, technical, and shocking compositions on their Candlelight Records debut, I. 

“Consequences” comes out at maximum power with unbreakable chugs and a hellish orchestra that further paints the picture.  You almost feel like XERATH is taking you to a land beyond, and all of you headbangers are going to LOVE “Consequences”!  Moving on, “False History” blasts off with such an epic orchestral arrangement that is then followed by a Mesguggah tempo of low ended extreme metal tones.  “False History” continues to open up further, and the theatrics really help maintain the integrity of the sound.  Their technical abilities shine on “False History” from the guitar solo to the general awareness of doing something different.  ‘Reform II” shows XERATH at their most extreme, at least in the intro, and the brutality mixed with the dark symphonic arrangements will catch your attention right away!  Though I do have to say the intro is XERATH’s strongest moment in “Reform II”, because some of the synth later on get’s a tad too cheesy, and just doesn’t seem to fit the mix. 

My concerns are that XERATH takes a little bit too much of Meshuggah’s style, and sometimes the synthesizer is too much.  If they can become a tad more progressive with their brutal and obscure structures, XERATH would be unstoppable.  With this recent movement of great metal coming out of the UK, XERATH is one of the better, and I believe their future will be big. 

Rating: 8/10
Label: Candlelight Records
Website: http://www.myspace.com/xerath

By Alex Gilbert

Way To End – Desecrated Internal Journey

Is it just me or has France been absolutely phenomenal lately with their metal?  French black metallers WAY TO END is the next beast to arise, and their latest, Desecrated Internal Journey, expands evil into unimaginable dimensions.  And that by all means is not an understatement.  The band has such a unique train of thought that’s strong, apocalyptic, yet open minded and bloody fucking brilliant.  WAY TO END’s guitar tones are beautiful, and the creative and blasphemous riffs they unleash are complex, while staying metal as fuck.  This atmosphere they create with their music varies from extreme metal riffs, dark ambiance, and dissonance, while the whole time shocking the senses.  I absolutely love the way WAY TO END strategically unleashes their dissonance, for that’s how they are expanding above and beyond.  Desecrated Internal Journey is definitely one of those releases you can play from start to finish, and just get lost within the music. 

“A Step into the Void” takes epic to this whole new level, and introduces us to the beast that is WAY TO END.  With a complete shock to the senses, the band’s disharmonic execution slays its dark path upon the listener.  The guitar tones are incredible as they sneak into the night, and step into the void.  Wow oh wow, I cannot get enough of these riffs.  Well good news, Desecrated Internal Journey has plenty more hidden treasures.  “The Worm” is in all ways epic as fuck!  The intro guitar riff weaves a delicate and spine tingling mood, and while you can see the black metal vibrations, you’re also going to see how unique WAY TO END is.  As “The Worm” progresses, the reflections of darkness come out strong with their obscure structures, mysterious rhythms, and in the depths of it all, you can tell they have an appreciation for the darker classical music from way back when.  “The Worm” and its near flawless composition show WAY TO END at their best, and with Desecrated Internal Journey, WAY TO END already has such a mastered sound!

Hands down this could be my favorite black metal release of 2009, for it’s definitely one of the most creative of the year.  Go buy it now!  With a musical direction as deep as the abyss, I believe WAY TO END are going to keep expanding their sound until they are the chosen leaders.  All hail WAY TO END, and their future is going to be BIG!

Rating: 9.5/10
Label: Debemur Morti Productions
Website: http://www.myspace.com/waytoendmetal

By Alex Gilbert

Throwdown – Deathless

Big time bruisers THROWDOWN are back with their latest release, Deathless, and like always, they are back with something to say.  It’s almost like we have a whole new THROWDOWN here, where in their latter discography (Venom & Tears era) they carry a heavy Pantera and Sepultura influence.  While they’ve crossed over to a more metal side lately, they still have that hardcore attitude and intensity, talking about real life situations, and keeping your head up.  That’s the THROWDOWN that I grew up to love, but it’s great to see them still growing, maturing, and well, deathless.  Their instrumentation has expanded in both brutality and exploring more southern metal riffs, and vocalist Dave Peters (who also contributes guitars on each release) explores new regions to his attack, even singing some pretty good clean vocals now. 

“This Continuum” is pretty much spot on the THROWDOWN that I love to hear.  Straight up raging fury rapid fires on this track and the memorable melodies in the chorus really fit in well.  Thinking THROWDOWN’s new approach in Deathless, “This Continuum” shows the band at their strongest, and all around bad to the bone.  “Black Vatican” is another metallic mosher meant to crush.  The band furiously stomps through the verses with authority, and all of the down tuned chugging is enough to get your horns raised.  There’s even a great bluesy guitar solo that compliments the integrity of the sound, and the transitions are smooth, yet very solid. 

While in my eyes Haymaker is still my favorite THROWDOWN to date, Deathless shows us a fresh THROWDOWN, and is definitely worthy of your attention.  Much respect to THROWDOWN for sticking to their guns for so long, and the band is here to stay.  I’m stoked to see what’s next…

Rating: 8/10
Label: E1 Music
Website: http://www.myspace.com/throwdown  

By Alex Gilbert

Slayer – World Painted Blood

This past summer I considered myself extremely lucky as I was able to sit down with drummer extraordinaire DAVE LOMBARDO while SLAYER was out on the Rockstar Energy Mayhem Festival. He was able to give a little insight into what was coming our way when WORLD PAINTED BLOOD would finally hit shelves in the 4th quarter. He talked about that not only did the recording happen at different periods of time, but this time he approached his drumming a bit differently due to reducing the size of his kit as well as all four members were able to work on the songs together and suggest ideas which is something Slayer had not done much of in the past. I left this interview wanting to hear the new album and now it’s out for everyone to hear.

Slayer has unleashed what I am going to call one of their greatest efforts with World Painted Blood as the input of all members is actually heard as the song structure from the title track. The grammy winners also show growth in some of the layering of guitar parts and with some melody exchange between KERRY KING and JEFF HANNEMAN. Although the 2nd track, “Unit 731″, starts off with a riff remiscent of “Chromatic Death” from SOD, the song quickly morphs into a full force attack in true thrash metal fashion which is followed by “Snuff” which blazes ahead with more typical Slayer maniacal guitar leads in the intro which shares a style to the first track we heard from this album being “Psycopathy Red” where vocalist TOM ARAYA gives one hell of a performance. “Beauty Through Order” is a brooding piece which is moody and shows that even being the elder statesmen of their genre, they are still able to step outside their fans expectations which they also do on the track “Playing With Dolls” where the lyrics are as dark as ever.

While whatever Slayer puts out it’s still Slayer, this late in their career many expect a step back yet they actually became adventurours not only with sounds (or a lack of due to a stripped down sound sonically), but with their tempos, layering, spoken vocals, and overall atmosphere which actually comes from the joint effort put forth by all four members. This release is several steps above CHRIST ILLUSION and DIABOLUS IN MUSICA to which were good but didn’t have the career defining songs, World Painted Blood delivers all that Slayer has been and even more!

Rating: 9 / 10
Label: Sony/Columbia/American
Website: www.slayer.net

Andreas Kisser – Hubris I & II

There’s no doubt that SEPULTURA guitarist Andreas Kisser knows how to shred, but on his new double CD Hubris I & II, the Brazilian displays a different side to his playing and songwriting. He mixes rock, blues, classical, flamenco and Brazilian folk music to create an eclectic blend of harmonious moods and melodies, yet remains close to his metal roots.

A few songs from Hubris I & II are not too far off the path in similarity to what Andreas created in SEPULTURA with “Kaiowas” from Chaos A.D. and “Ratamahatta” and “Jasco” from Roots. SEPULTURA have explored and created a Brazilian flavor within some of their music, and this is what Andreas does on his first solo album, which took 15 years to complete.

While listening to Hubris I & II, you have to keep your mind and ears open; the thrash and death-metal sounds of SEPULTURA it is not. But what it is, is a great display of musicianship and craftsmanship from hardworking musicians who only wanted to create an album that means something to them.

Hubris I & II is an album of two halves: The first disc is all electric guitar, the second is all acoustic guitar with other instruments mixed in. Half of the songs that have vocals are sung in Andreas’s native Portuguese. He is credited with guitar, bass and vocal work. Drums are handled by SEPULTURA drummer Jean Dolabella. The rest is handled by Brazilian friends and local musicians Andreas asked to be on the disc.

Best tracks on Hubris I & II: “God’s Laugh,” Virgulandia,” “R.H.E.T.,” “Em Busca do Ovro,” Lava Sky” and “A Million Judas Iscariotes.”

“Em Busca do Ovro,” (gold rush or gold hunt) was inspired by the Brazilian gold rush. The song displays great emotion and melody.
Veteran Brazilian vocalist Zé Ramalhem tells the story of the quest for gold and the inhuman acts that followed. If you do a Google search for the translation of the lyrics and watch the video, you will have a complete understanding of the mood and meaning Andreas was going for. Rapping “Virgulandia” is about impunity and the injustices of the Brazilian judicial system. It’s also in Portuguese and has a catchy chorus and a groovy beat that boasts lyrics about how ridiculous the Brazilian prison system is.

Best tracks on Hubris I & II: “Worlds Apart,” “Breast Feeding,” “Page” and “0120.”

“Sad Soil” kicks off disc II with a sombre-yet-uplifting emotional guitar solo. The piano interludes on “Worlds Apart” cascade nicely between acoustic guitar and cello strings. “Breast Feeding” introduces Andreas’ flamenco classical guitar stylings and Latin percussion rhythms. “Page” continues where “Kaiowas” ended and could have been a SEPULTURA leftover, with its similar acoustic and percussion sound. CD closer “O Mais Querido” is Andreas’ tribute to his favorite Brazilian football club, Sao Paulo FC.

Hubris I & II is an excellent collection with not too many bad points, although “Protest” and “Euphoria Desperation” from disc I feel like they’re fillers, not complete songs. They are good for what they are, but if they were a little more developed, they would be great songs. Andreas hasn’t quit his “day job” and will continue to record and tour with SEPULTURA, but “Hubris I & II” is a nice change and a commendable effort for his first solo outing.

Rating: 9/10
Label: Mascot Records
Website: www.myspace.com/andreaskisser

By Kelley Simms

Lääz Rockit – Nothing$ $acred (re-release)

LAAZ ROCKIT was part of the Bay Area thrash scene in the early eighties who never achieved the popularity or recognition like other bands of that era. They first broke into the scene in 1984 with City’s Gonna Burn.

I always thought LAAZ ROCKIT held their own up against some of the Bay Area’s second-tier bands such as Forbidden, Defiance, Vio-lence and Heathen. However, not of the same caliber as heavyweights like Testament, Death Angel or Exodus. But they had some good thrashing musical chops in guitarists Aaron Jellum and Phil Kettner, along with a tight rhythm section of drummer Victor Agnello and bassist Willy Lange, but also fronted by some killer and distinctive vocals of Michael Coons.

Their fifth release, Nothing$ $acred was originally released in 1991 at the beginning of the grunge, death and black metal era. Key members Kettner, Agnello and Lange were gone, Coons’ vocal style changed, and the band strayed from their original sound displayed on previous releases like Know Your Enemy and Annihilation Principle. They soon disbanded a couple of years after. Resurfacing in 2008 with their first studio album in fifteen years, Left For Dead, the band created some renewed interest and has prompted Massacre Records to re-release their back catalog, lastly including Nothing$ $acred.

There are decent tunes on Nothing$ $acred, such as “In The Name Of The Father And The Gun” and “Greed Machine,” which has classic thrash riffs mixed with 80s aggression. On “Necropolis,” the guitar solo absolutely crushes. This re-release features three bonus tracks, I don’t know where they originated from, but all three kick major ass, with “Ten Eyes” and “Plague” being standouts.

Thrash fans that know what to expect from LAAZ ROCKIT and already own the original should pick this up just for the three awesome bonus tracks. Fans unfamiliar with LAAZ ROCKIT should start off with their earlier releases, but Nothing$ $acred should not be neglected, because it does contain some deadly thrash assaults.

Rating: 8.5/10
Label: Massacre Records
Website: http://laazrockit.ning.com/

By Kelley Simms