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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

The Red Chord – Fed Through The Teeth Machine

There is a big difference between leaders and followers.  Case in point with THE RED CHORD who continues to set the pace in extreme metal, being quite the influence on many up and comers a.k.a. copy cats.  You can’t really label THE RED CHORD as just extreme because they are much more than that.  The beauty of their metal expertise is that with every way THE RED CHORD attacks, it’s all coming at full force.  Their reign as leaders continues with one of the year’s best, with Fed Through The Teeth Machine.  I absolutely love the innovative guitar work, and THE RED CHORD continues to progress further.

Opening with “Demoralizer”, the song is fast, punishing, and brutality done right.  Insane drum blasts compliment the guitar riff fury, and for opening up Fed Through The Teeth Machine, THE RED CHORD really steps on the gas.  Getting deeper into the teeth machine, the intro in “Embarrasment Legacy” contains my favorite guitar work from THE RED CHORD, and the monstrous riffs are layered perfectly with yup, more monstrous riffs.  This song has got it all, and THE RED CHORD’s shifts tempos without a sweat.  I mean, from a steady verse stomp to hyper speed grind, THE RED CHORD keeps your attention, and that’s for damn sure.  Other songs such as “One Robot To Another” and “Face Area Solution” are as punishing as ever with schizophrenic speeds, bone crushing instrumentation, and a straight to the face approach.  Other tunes such as “Sleepless Nights In The Compound” expand the band’s experimentation with some great time signatures, flying fretboard work, and while they are one of those band’s that does everything superb, they always make sure they are as heavy as can be.

THE RED CHORD are as brutal, technical, progressive, poetic, and just simply as smart as anyone.  Guy Kozowyk’s vocals are still as thunderous as ever, and his delivery unleashes just as much intensity as the music puts in.  They don’t give a fuck.  They play the music they want to hear, play it heavy, and get the masses involved in the mix.  THE RED CHORD has risen to the next level.

Rating: 9/10
Label: Metal Blade
Website: http://www.myspace.com/theredchord

By Alex Gilbert

Vendetta – heretic nation

UK-based VENDETTA’s style is deeply rooted in ’80s traditional metal, with crunchy riffs and melodic hooks. Traces of Maiden, Priest, Scorpions, Triumph and Saxon, among others, are eloquently placed throughout their 2nd album Heretic Nation. The band mix melody with aggression, combined with great harmonies and a shitload of searing, soaring guitar leads.

Their debut was good, but their new creation is far more advanced. It’s heavier and more cohesive than Tyranny of Minority, while still retaining VENDETTA’s trademark sound. The band has progressed immensely, and vocalist/guitarist Edward Box has fit into his dual role comfortably by delivering more passion to his vocals than on the debut.

There’s not a dud among the batch of songs on this CD. Every track has a catchy, melodic-yet-aggressive approach to it, due to dead-on marksmanship by drummer Lee Lamb, solid precision bass lines from Gary Foalle, and equal guitar mastery from Pete Thompson.

“My Revelation” has been featured on YouTube for a couple of months now, and if you liked that song then the rest of Heretic Nation is just as tasty.

Opening track “Delusion” has the band kicking off in excellent form. A melodic anthem with nice leads and a strong chorus makes it a great opener.

Box brings his instrumentalist traits to the song “Skaro,” based on the fictional planet of the same name from the British Sci-Fi television series Doctor Who. In addition to VENDETTA, Box has penned two instrumental solo albums, thus proving that he is a guitarist to be reckoned with.

“Glass Half Empty” radiates with Triumph-like qualities including great bass lines and Box’s harmonious voice shining through, the middle part is reminiscent of a young Rik Emmett. “Killing Time” includes an awe-inspiring twin lead guitar solo by Box and Thompson that equal a Tipton/Downing shred-fest. “Face Your Demons” and “Powers That Be” have sort of a Testament-like quality, particularly the “Souls Of Black” period.

Heretic Nation is a fun slab of traditional, straight up, balls-out heavy metal that has a long-lasting nostalgic metal quality to it that you can never grow tired of.

Play it again!

Rating: 9/10
Label: Lion music
Website: www.vendetta-theband.com
By Kelley Simms

Uneven – Vrzino Kolo

Heavy metal is truly global. Take Serbia’s UNEVEN, who is proving that a band from a little country in central/southeastern Europe, which is not usually known for its abundance of metal music, can be a noticeable force in the genre. Founding members Darko Minic (guitar) and Stevan Radoicic (guitar) have blended their love of heavy metal with Balkan ethno folk music, which is a mixture of odd and uneven (hence their band name) rhythms and scales that are indigenous to the Balkan region. They weave complex rhythms and odd time signatures, mixed with social and political lyrical content to create a unique ethnic metal zest on their five-song demo Vrzino Kolo. On first listen, you’ll hear System of a Down comparisons, as well as Dream Theater’s influence, especially on Dordo Vujicic’s creative drum fills.

Self-titled instrumental opener “Vrzino Kolo” (literally translated as witch Sabbath), is an old Serbian superstition about a dance that witches or fairies would perform. It has an eerie Arabian sound that sets the tone for the following songs. Dark humor abounds in “Nights in the Club,” which has sort of an ‘ 80s-metal feel to it. “Uneven” is a fun song with groovy guitar riffs and great melodies. Anti-communist piece “U.S.S.R.” starts off with sampled Churchill, Kennedy, Reagan and Clinton quotes; the song seems to profess a “what if” message, with references to Soviet politician Nikita Khrushchev and the Cold War. CD closer “Fire in the Hole” has a thrashy edge to it and is the heaviest song on the CD.

This is an impressive start for the Serbians. The band has created something catchy and memorable. Their musicianship is tight, and the production is of high standards for a demo. With a few tweaks here and there, Uneven could find themselves moving on to bigger things.

For a free download of Uneven’s demo, go to http://www.megaupload.com/?d=094OUQ00
or visit their MySpace page HERE.

Rating: 8/10
Label: Independent
By Kelley Simms

Mortification – The Evil Addiction Destroying Machine

Reinvention is a word that comes to mind when listening to seminal Christian metal band MORTIFICATION. The Australians have been churning out great death/thrash/groove/punk metal music with a “positive message” since 1990, but they never seem to stick with the same musical formula or vocal stylings from album to album.

MORTIFICATION came along and took the “White Metal” sound, glamorized by Stryper in the early ’80s, many levels heavier. With its second release, Scrolls of the Megilloth, MORTIFICATION began to achieve great success and recognition, not just in Christian metal circles, but in the death metal genre. After 1993s Post Momentary Affliction, the band went through changes in the MORTIFICATION sound, by adding thrash, groove and even punk elements to their songs. Around the time Hammer of God was released, their original death metal sound had all but vanished.

With its fourteenth release, The Evil Addiction Destroying Machine, MORTIFICATION have stripped things down and have taken the “less is more” approach to its sound,” similar to what Metallica did on its “Black” album. Not to say the songs aren’t heavy, just different from their earlier releases. The songs are more mid-paced and groove-based, mixed with punk influences. Originator and mainstay bassist/vocalist Steve Rowe produced and released the album through his own label, Rowe Productions. The CD took three years to record. Was it worth the wait? It depends. If you like the mid-era releases, then this new one is the closest to comparison. Is it groundbreaking? No, but parts of it are enjoyable nonetheless. The current formation is even tighter sounding throughout The Evil Addiction Destroying Machine, thanks to guitarist Mick Jelinic and solid drumming by Adam Zaffarese, along with Rowe’s stellar bass lines.

The eponymous opener starts off with an awesome drum fill followed by a thrash/punk sounding riff. Rowe’s current gruff, deep-growl baritone vocals are not as commanding as his voice was on their earlier releases, or not as “thrashy” as they were on 2006s “Erasing the Goblin” for that matter. There is something missing from the MORTIFICATION 2009 sound that I can’t quite explain. The Evil Addiction Destroying Machine is so different from any other release the band has put out, but they do offer some decent tunes on this release. “One Man With Courage Makes A Majority” and “Pilots Hanging From Shoulders Dust” are great displays of the direction MORTIFICATION has currently taken. Its punk-laden bass grooves, heavy riffs and Rowe’s growls, make “Pushing The Envelope of the Red Sonrise” a standout.

It took me a few listens to finally understand MORTIFICATION’s musical approach on The Evil Addiction Destroying Machine. But most of the songs are just too generic and there’s not enough memorable or creative riffs.

Reinvention can mean different things to different people, but fans of MORTIFICATION’s original sound might be disappointed with its latest offering. The band could even go back to how it sounded on its earlier releases, you never know with MORTIFICATION.

Rating: 7/10
Label: Rowe Productions
Website: http://www.soundmass.com/rowe/

By Kelley Simms

Ravage – The End Of Tomorrow

RAVAGE has gone to the school of metal, and graduated with such soaring instrumentation and song writing skills.  Add on some extra credit, and RAVAGE unleashes a ton of groove, and also has the ability to spit some rapid fire riffs!  Influentially, you definitely hear a ton of Iron Maiden, Judas Priest, and Helloween, and RAVAGE pulls this sound off pretty well.

The title track, “The End Of Tomorrow” gives those harmonized metallic guitars that we all love, and RAVAGE really shows off their shredding in this one.  The dual guitar solos, shimmering melody, and interesting vocal work of Al Ravage, and RAVAGE is on a rampage. “Grapes Of Wrath” is another great jam that gallops along with metal glory.  Showing a more traditional thrash approach, “Grapes Of Wrath” catches the listener with all its loud distortion, chunk chords, and excellent song structure.  All in all, The End Of Tomorrow is a solid metal album, both paying homage to the heroes of heavy metal, and helping to keep the NWOBHM wheel turning. 

The End Of Tomorrow is a fun listen, and seriously shreds.  Fans of old and new should have no problem adapting.  Also, artwork was created by Ed Repka, who is also known for his amazing artwork for Death and Megadeth.  Make sure you sew your RAVAGE patch on your jean jacket, and wear it proudly.  These guys are here to stay, and RAVAGE just added a ton of excitement into the NWOBHM.

Rating: 7.5/10
Label: Metal Blade
Website: http://www.myspace.com/swwr

By Alex Gilbert

This Ending – Dead Harvest

Sweden has always been on the map with some of the most influential metal, and with many newer Sweden metal bands emerging, THIS ENDING is one of them at the top of the pack.  Though they’re new band, the members of THIS ENDING are veterans in the metal scene, with members coming from Amon Amarth, General Surgery, and A Canorous Quintet just to name a few.  THIS ENDING re-focuses in many ways to deliver some of the most extreme pounding death metal, and with the creation of Dead Harvest, it’s a true beast in the underground metal scene.

Dead Harvest starts off big with “Trace Of Sin”, unleashing a full force anthem of destruction.  The vocal work is monstrous, and equally as monstrous is the instrumentation.  I love how the brutality and the death metal balance out in such a stylistic, yet respectable way.  And this is what you can to expect for the duration of Dead Harvest.  Moving along, embrace yourself (and hold on to something tight!) for the power that “Machinery” will unleash upon you!  From the opening blast beats layered with thick melodies, beastly accents, powerful low end, and the vocal authority of Marten Hansen, “Machinery” presents itself as raw, monstrous, and a big solid chunk of Swedish death metal.  The verses clear the path with its low ended fury, and those melodies THIS ENDING pieces into the chorus will give you the chills.  I love the force the band puts into “Machinery”, and the machine gun drumming to the brilliant guitar teamwork make this song a memorable one.  Put it on repeat, now!  Another beast of its own is “Tools Of Demise”.  From the melodic tremolo picking and rapid firing blast beats in the intro, the song stomps along furiously, and has something to say.  Like many of THIS ENDING’s verses, they incorporate a ton of low end, and what I love about their musical direction is that they make sure their structure is unbreakable.  The band knows their death metal well.  

Giving a great crossover of Swedish death metal, futuristic tones, and even some industrial tinges, THIS ENDING has really created one hell of a monster on their second album, Dead Harvest.  Their delivery is top notch, and Dead Harvest is really a great one to get into.  THIS ENDING has the potential to become big, and I see them as death metal icons in the making.  And from seeing their 2 music videos in support of Dead Harvest [“Parasites” and “Dead Harvest”], let’s definitely hope THIS ENDING will come to a town near you.  I’m stoked for THIS ENDING’s future, for it can be BIG…

Rating: 8.5/10
Label: Metal Blade Records
Website: http://www.myspace.com/thisending

By Alex Gilbert

Skeletonwitch – Breathing The Fire

Athens, Ohio is not routinely known for pumping out quality metal bands and that’s probably not going to change in the near future aside from that of SKELETONWITCH. In recent conversations with other bands in the metal scene, many of them point fingers to Skeletonwitch for doing something rooted more in the old school thrash vein yet doing something a little different to make it stand out amongst those who when placed into the ‘retro thrash’ area many end up sounding like a joke, but not the case here.

Skeletonwitch has been turning heads and converting non-believers for a few years now since their jump to Prosthetic Records after releasing BEYOND THE PERMAFROST. This 5-piece have momentum going for them and have a solid underground buzz. Now it’s late 2009 and they give us BREATHING THE FIRE which will carry them up the totem pole of metal throughout 2010. Standout tracks include album opener “Submit To The Suffering” which is crushing in all aspects and “Strangled By Unseen Hands” which is as thrashy as they come in this day and age. The uniqueness presented within this album is simple in the fact that not one track is over four minutes in length. Skeletonwitch gets into the game, scores their points, and go home a winner as often bands fall into the trap of repeating the same items over and over again. The longest track at 3:43, “And Into The Flame” shows their multi-dimensional approach with old school thrash, elements of black metal, death metal, and a unique sense of dynamics which sometimes gets lost in extreme forms of metal. “Crushed Beyond Dust” and “Blinding Black Rage” are perfect compliments when played back to back. And while Skeletonwitch display different elements of metal, they know when to morph from one genre to the next to keep the listener interested and they don’t over use the best riffs in the songs.

I’ve said it several times before that when bands produce sounds that were familiar 25 years ago in the thrash genre, they end up coming across half-ass and as a joke. The best who can be placed into this area are LAZARUS A.D. and our subjects at hand, SKELETONWITCH who have proven they are worthy as a torchbearer of heavy metal into the next decade! Are you ready to start Breathing The Fire?

Rating: 8 / 10
Label: Prosthetic Records
Website: www.myspace.com/skeletonwitch

By Mark Thompson

Arch Enemy – The Root Of All Evil

After many years of living with recordings that pailed in comparison to where the band is today, ARCH ENEMY has decided to re-record assorted tracks from their first three albums with current vocalist ANGELA GOSSOW. And as far as I’m concerned, she is by far the better vocalist as when listening to early AE, the vocals are the part that always held the band back. I know some may argue the point that JOHAN LIIVA is better because he was first, the sexist because he’s a man theory [barf], etc. But that truly doesn’t matter as her versions simply outshine what was first created as are evident on THE ROOT OF ALL EVIL.

Also with the re-recording, you are able to hear more of the IRON MAIDEN influence with some of the melodies that are played by guitarist MICHAEL AMOTT like in “Silverwing” that also have JOE SATRIANIesque tendencies in the melodious interludes. The modern technology to capture better drum sounds, more solid vocals, thicker guitar tracks and effects to shed new light onto the possibilities that were given in the late 90’s absolutely come to life. “Demonic Science” is a track where Angela’s vocals, as angry as they are, are the perfect juxtaposition to the neo-classical artistry that can exist in some of the classic AE songs such as the ending of this song as well as the melodies in “Bridge Of Destiny.” The impact and potential of ARCH ENEMY was never truly felt in their early days in my opinion and could have placed them into a different league had these early songs had the impact that they now do on The Root Of All Evil.

“The Immortal”, “Bury Me An Angel”, and “Dead Inside” all sound more relevant today than they did ten years ago that even with the progression of music in this scene, AE have sort of resurrected their abilities and leave this listener curious as to how their next new offering will vary from those in the past few years. Sometimes a band must go back to their early roots or songs to get back in touch with what inspired them in the first place. Let’s see what the next studio effort will produce for these Swedish exports!

Rating: 8/10
Label: Century Media
Website: www.archenemy.net

Evergreen Terrace – Almost Home

EVERGREEN TERRACE is one of those bands who are badass in many ways.  The band has this raw and massive sound that the hardcore, metal, and punk crowds can love.  Their latest Metal Blade release, Almost Home, is filled with tons of memorable melodies, extreme breaks, galloping drum beats, and flat out rocking out moments.  They’ve taken their already solid sound and continue to remain amongst the strong.

Opening Almost Home with “Enemy Sex”, the band bursts out at a fast and slick pace, and their time changes are brilliant; we can call it default EVERGREEN TERRACE by now.  What’s impressive is how the band continues to gallop along without stepping on the breaks, whether “Enemy Sex” is unleashing strikes of dissonance, rocking a riff, or throwing it down hard.  EVERGREEN TERRACE continues the raging with “God Rocky Is This Your Face?”, and shows the band at their heaviest on Almost Home.  From the quick intro sample to the instant explosion of loud and soaring distortion, EVERGREEN TERRACE definitely gets the point across.  You’ll definitely find yourself banging your head to “God Rocky Is This Your Face?”  Almost Home closes on such a beautiful note with “Not Good Enough”, and the anthem really drives the band home.  This could be EVERGREEN TERRACE at their catchiest, and the song structure itself really shows a strong and mature side to the band.  The song is brutal enough to get a crazy pit going, and catchy enough to pull on the heart’s strings.  Which also with the clean vocals in the chorus, you almost have a sense of EVERGREEN TERRACE’s hard work ethic, as they are always striving to get bigger and bigger.  And that they are.  Well done guys!

They say that music has the power to move you, and EVERGREEN TERRACE sure fits that statement.   Almost Home is definitely one of the year’s exciting releases, and a great listen from start to finish.  The band’s future is going to continue to grow bigger, and while they are one of the scene leaders (on both a commercial and underground level), EVERGREEN TERRACE gives the real deal.

Rating: 8.5/10
Label: Metal Blade
Website: http://www.myspace.com/evergreenterrace

By Alex Gilbert

The Black Dahlia Murder – Deflorate

Through the revolving door of band members, one can never accuse Michigan’s THE BLACK DAHLIA MURDER of not having a strong work ethic going from studio to constant touring then repeating the process. Their past 2 releases continued to raise the bar as the leap to MIASMA then the large jump to NOCTURNAL firmly established the quintet in the extreme/death metal world as one of the top contenders. As we head into the last part of 2009, TBDM unleash DEFLORATE which again will show that there is no stopping and absolutely no rest for the wicked.

“Black Valor” opens the album and TREVOR STRNAD has never sounded so confident and mature, yet so hungry with a large appetite in his vocal delivery. The contribution of recent addition to the lead guitar slot, RYAN KNIGHT (ex-ARSIS) is immediately felt not only in the solo, but in some of the precision picking that is displayed. This also follows into “Necropolis” as some of the melody that is demonstrated picks up where Nocturnal left off as their effective use of tempo changes easily guides them our of the normal brutality you experience in this genre. Drummer SHANNON LUCAS does not go over the top yet keeps the listener interested with accents used on his China Cymbals as well as using the Ride to maintain certain grooves that are developed. “A Selection Unnatural” is one of the more ‘extreme’ tracks at all levels that doesn’t stop until the 1:05 mark which opens the tempo for more amazing solo work from Ryan. “Denounced, Disgraced” adds a bit more to the mix with dynamics and interesting structure thanks to Shannon’s use of his toms during the verses which segues into “Christ Deformed” with a hi-hat / drum fill intro where melodies in the guitar lines allow Trevor to approach his vocals slightl different and again take TBDM into some newer territory musically.

“Death Panorama,” the shortest track on the album coming in under two minutes is perfect in length as they deliver their point within that given timeframe and if it weren’t for the 15 seconds of feedback at the end of the song it would be even shorter. “Throne Of Luncay” shows that TBDM is capable of some ‘groove’ elements and straight forward songwriting and “Eyes Of Thousand” is more of a Thrashy song with double bass that is remiscent of early era SLAYER. My favorite track on Deflorate is easily “That Which Erodes The Most Tender” as the pace, drumming, vocal delivery, and bouncing guitar melodies create a landscape that shows the band is capable of branching out yet not losing the focus of what truly defines them as an extreme metal band. Album closer, “I Will Return” comes in over five minutes in length but does not seem that long as there is a slight intro and follows some of the same direction that the prior song established.

Fresh off a stint on the Rockstar Energy Mayhem Festival this summer, THE BLACK DAHLIA MURDER have returned with another excellent album and I truly hope that we can maintain the current lineup as the new members have helped refine the sound, direction, and potency that TBDM truly contain that will give them the longevity they need and deserve!

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

Awaken Demons – The Mirror

Italy lately has been starting to make itself a mecca for heavy metal and other underground movements.  Arising such monsters as Fleshgod Apocalypse and Idols Are Dead, AWAKEN DEMONS is the next big hype coming out of Italy.  Their Trustkill debut, The Mirror, is action packed, and filled with fist pumping anthems from start to finish.  Featuring guest vocals from Vincent Bennett (The Acacia Strain) and Karl Buechner (Earth Crisis), the two add even more ruckus to AWAKEN DEMONS full force drive.  In fact, AWAKEN DEMONS sounds very similar to The Acacia Strain and Earth Crisis, while other comparisons can be drawn to Hatebreed and Throwdown. 

The Mirror has plenty of standout points.  The brutal and stylistic opener “Coming To An End” makes the band’s first impression a good one.  The band comes blasting out of the gates with plenty of low end, big breakdowns, and when they step on the gas pedal, off  to the races goes AWAKEN DEMONS.  Another track with plenty of mean distortion is “Abandon The Darkness”.  Repetitive riffing, but effective as it builds up the track.  The closing of “Abandon The Darkness” shows the song’s strongest moment with both AWAKEN DEMONS vocalist Luca Zattoni and Vincent Bennett of The Acacia Strain screaming “I am your worst fucking nightmare!”  Moving along, “Real” is another big banger, and bursts out like a fresh and healthy Hatebreed.  The vocal authority of Luca [Zattoni] is gigantic, and the band continues to attack the track with dedication.  As straight forward as “Real” is, this one is as hard as brass knuckles to the face, for real.  Closing on the title track, “The Mirror”, the band gives some outstanding melody, and this one right here is the jam!  Possibly a new musical direction, but shows another side of the band. 

The Mirror is a great CD for the moshers, and these crazy Italians have a great hardcore attitude in their sound, giving the extra push.  Are they Trustkill’s next Throwdown?  The band definitely has potential, and I’m excited to see what they come up with next.

Rating: 7.5/10
Label: Trustkill Records
Website: http://www.myspace.com/awakendemons

By Alex Gilbert

Austrian Death Machine – Double Brutal

If you don’t have a sense of humor, stop reading now! This will not be a drawn out long review! Serious, don’t even bother reading this review! For one, when I received the first initial AUSTRIAN DEATH MACHINE release I thought it was brilliant. Creator TIM LAMBESIS took the S.O.D. format to the next level keeping it simple, keeping it humorous without going over the top, and keeping the focus simply, “Ahhnold.” So when I learned that there was something lurking in the future for ADM, I couldn’t wait to give it a listen.

This time around we venture into other movies like PUMPING IRON and JINGLE ALL THE WAY, while sticking with the tried and true in THE TERMINATOR and TOTAL RECALL, as well as breaking out some fun cover songs. The music is simple, straight forward old school thrash, guitar solos a plenty courtesy of BUZZ MCGRATH (UNEARTH), KRIS NORRIS (ex-DARKEST HOUR), and ANDREW TAPLEY (THE HUMAN ABSTRACT) just to name a few. “Allow Me To Break The Ice,” “See You At The Party Richter,” and “I Need Your Clothes, Your Boots, and Your Motorcycle” are all excellent, well-crafted songs that fit perfectly with the dimension of the humor of Arnold Schwarzenegger as the lead singer of a metal band. The songs are thrashy, have breakdowns, and aim nothing to be nothing more than a moshing good time!

The cover songs are quite good too as Ahhnold even gives his thoughts on METALLICA and the song “Trapped Under Ice” as well as the possibility of doing the theme song from The Terminator, and even lending his vocal talents to MEGADETH, JUDAS PRIEST, and THE MISFITS. The best cover on the album is simply “Iron Fist” from the mighty MOTORHEAD. Without saying much more, if you like old school Thrash, have a sense of humor, and can hang in the pit, check it out and enjoy!

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

By Mark Thompson

Cab Ride Home – The Intoxicated Massacre

What is a cab ride home? Well, it’s a chance to pass out in your own bed, someone elses couch, or if you’re lucky, the opportunity to end up balls deep at that fat bird from the bar. Oh, they’re also a brilliantly named band from Virginia. This beer fueled quintet has just pumped out their debut EP. Aptly titled The Intoxicated Massacre, it is a seven song litre filled to the brim with hoppy metal. Think mid-80’s Hetfield in his liver ruining prime, at the height of his blackout drunkenness, trying to play a few riffs for some lucky ladies backstage…that’s the sort of music Cab Ride Home embodies. It’s a healthy mix between Dethlok, Swashbuckle, and The Haunted. With songs that every honest beer swiller can relate to, like “Drunk on Arrival”, Cab Ride Home is a fun but strangely serious metal band…and let’s be honest, how often can you say that?

One of the more enjoyable things about the upstart Virginia based act is that they’re overtly less gimmicky than these dime a dozen donkey performers who dress up like circus acts. Having opened up for many a metal act at the world famous Jaxx in Virginia, Cab Ride Home have certainly outlined their intentions and can hardly be classified as a “local” act. They’re musically sound, put on a tight, energetic live performance, and have smartly invested in their future. You can never take yourself too seriously, but seeing five guys band together in the name of beer and metal with the hope to stake their claim in the industry – I’ll toast to that.

First listeners will easily realize that Cab Ride Home are far from the final polished product, with the EP occasionally seeming a little repetitive, but it’s nothing that can’t be fixed with some proper production and musical guidance. Consider Cab Ride Home a prodigious college football talent, who under the guise of a good coach could actually make a few starts in the pro-leagues. With a little push, these marketable drunks in Cab Ride Home could really be one of those musical treasures that we crack open after drinking too much of the low carb mainstream guff. So why not blow the froth off a few and check out Cab Ride Home? It’s worthy of one last round.

Rating: 8/10
Website
Label: Unsigned

Darkest Hour – The Eternal Return

The Eternal Return is yet another whimsical metal release from those dudes in Darkest Hour. With a scintillating title that seems to tell a tale much deeper than one might suspect, the quintet relied turned to underground producer Brian McTernan to supply the beef behind the curtains.

After the 2007 release of Deliver Us, the happy go lucky Darkest Hour camp saw the sudden departure of lead guitarist Kris Norris in late 2008 shake their foundations. With such a shred-worthy release that was shipped to store shelves the year prior, it was a wonder who/where the band would turn next. Step to the plate bearded roadie-turned-guitarist Mike ‘Lonestar’ Carrigan. From here the studio time began, with Darkest Hour imprinting the melodies and moods for what would become The Eternal Return.

Followers of the band would be quick to notice the dirtier more underground approach the band took to the preparing and recording the disc, which coincidentally transcends directly into a much more raw album overall. Devoid of powerhouse producers like Devin Townsend and Fredrik Nordstrom, The Eternal Return is Darkest Hour uncut. The solos are still there, but not as long and intricate. The power is absolutely still there, but Burnette’s double bass seems less polished…something which directly complements John Henry’s thunderous scrowls. Yes, be alarmed, a change in the way a band sounds. Goodness me.

First and foremost – this is not Deliver Us. This is not Sadist Nation or Undoing Ruin. This is The Eternal Return . There are some jams flitting about the this here ten songer, but these are tracks that are something for the kids who were into the band when they first pummeled onto the scene with Victory Records. So, put your fake solo guitar fingers away and close your gaping mouth, as you’ll likely be needing to watch the growing circle pit behind you and put those neck muscles to work instead. The Eternal Return is simply a thrashy, raw, uncut release that is not your atypical Darkest Hour Gothenburg bounce. From “Black Sun” to “The Tides” – this record harks back to a very metal era. You get your flash solos, heavy undertones, and that quintessential Darkest Hour harmony. Check their MySpace for a taster.

Some might remark that Norris’ departure left a void in the band. In some cases, yes, this is true. However, Darkest Hour have turned on a sixpence to deliver a record that shows how clutch it is for a band to continue to evolve and change. Sadly, some will mark this record as the decline of the band, simply because it isn’t as orchestral as their past releases…but if you look at The Eternal Return as a ‘return’ to their startup era, and follow the record through, you’ll find bits and pieces of every single release that the dudes have ever put out. It’s hopefully a ‘two songs on the setlist, max’ release, as we all like a bit of “1,000 Words…”, but The Eternal Return certainly offers fans a chance to reminisce. Public backing may not find it’s way to The Eternal Return , but the true worth of any band can be seen over time, and this is just a logical next step in the evolutionary process of Darkest Hour. However, when all is said and done, let’s just hope some of that melody can sneak back in on the next run round the gin mill…

RATING: 7/10
LABEL: Victory Records
WEBSITE: www.darkesthour.cc

Lewd Acts – Black Eye Blues

Ahhh, music with a message, reminds me what it’s all about.  Music that embraces the roots, and music that keeps things raw, intense, and real.  The new LEWD ACTS release, Black Eye Blues has hardcore written all over it; the way it was meant to be played.  It’s loud, fast, powerful, and while it’s such a fun and stylistic listen, Black Eye Blues still proposes itself as an underground treat!  Like plenty of the other Deathwish releases, Black Eye Blues is an exciting listen the whole way through, and ends sooner than you want it to.  These San Diego rebels have crafted a near perfect release, and while a hardcore act at heart, LEWD ACTS has really stepped outside of the box on this release with some conceptual ideas, new methods to attack aesthetically, and heavier moments than they’ve ever had before.   Black Eye Blues lyrically is about real life situations in a straight forward form, and musically LEWD ACTS lures you in to live the message. 

Right off the bat LEWD ACTS gives the attitude with “Know Where To Go”.  And so begins the story of the Black Eye Blues.  But then full speed ahead comes LEWD ACTS with “Nightcrawlers”, giving some striking chords with some great thrash tendencies.  Enter Tyler Densley’s style of crooning and some galloping drums, and “Nightcrawlers” really brings the ruckus.  Moving along “Who Knew The West Coast Could Be So Cold?” shows a poetic and bluesy side to LEWD ACTS, and with a steady pumping guitar, the mood in this song really shines.  ”Who Knew The West Coast Could Be So Cold?” comes around midpoint of the CD’s story, as Black Eye Blues begins to change form conceptually. Getting right back into the belly of the beast, LEWD ACTS unleashes “Rot Gut Charlie” which brings us back to hardcore’s glory days.  This song straight rages through the verses at full speed, not stopping for anybody or anything.  Black Eye Blues closes with “Nowhere To Go” and once again the hardcore rebels at heart show us more versatility.  The delicacy and down tempo rhythms strike the listener’s craving for noise, and plenty of dark guitar tones build up this beast.  And upon closing of “Nowhere To Go” the melodies propose such beauty and Tyler [Densley] shouts out his last croons as if they were his last words. 

The production sounds great, where it seems like anything Kurt Ballou (Converge) touches turns to gold.  I should also add how beautiful the artwork is – big props to vocalist Tyler [Densley] again for giving his all to the band!  Overall, this album is for any hardcore fan, but is also for anyone who supports the underground movement.  Go buy it now!  I also love the way how LEWD ACTS has a story behind this release, and they do it brilliantly!  For example, the thematic pairings of “You Don’t Need Me” leading into the raging “I Don’t Need You”, or from the album opener “Know Where To Go” to the closer “Nowhere To Go”, LEWD ACTS pieces the puzzle together perfectly.  LEWD ACTS has really made a name for themselves with Black Eye Blues as well as an identity of their own, and the future for these guys is going to be big!  Much respect to LEWD ACTS.

Rating: 9/10
Label: Deathwish Inc.
Website: http://www.myspace.com/lewdacts

By Alex Gilbert

Shadows Fall – Retribution

A little over a year and a half ago I was on the East Coast and was able to catch the tail end of the last tour SHADOWS FALL did before writing / recording their new album, RETRIBUTION which is released on September 15. The reason I bring up this gig is the simple fact that they seemed like a band that had been defeated. Their peers in KILLSWITCH ENGAGE, being signed to Roadrunner Records had produced Gold Records and LAMB OF GOD, who signed to Epic have turned out 2 releases on a Major. Unfortunately, at the time SF signed to Atlantic, they were considered the top of the heap by many from this genre yet when they put out THREADS OF LIFE, all of their momentum suddenly stopped. First week numbers were extremely low and the album barely managed to sell 1/3 the amount of their monster, THE WAR WITHIN. Their set on this night in Baltimore was short, no encore, and something just wasn’t right.

Fast Forward to September 2009 and we have a different story. Could the title be a direct reflect from their past lackluster album and failure to launch to another level? Whatever the case may be, now on Everblack Industries/Ferret, the quintet brings us a 10-song offering that deserves a solid listen to understand that SHADOWS FALL is back! Musical Intro with the first track that segues into “My Demise” which shows they still can create the riffs and that vocalist BRIAN FAIR has not lost his growl by any means. Guitar whiz JONATHAN DONAIS shows off his YNGWIE J. MALMSTEEN abilities in the solo in tonality and use of scales. First single, “Still I Rise” possesses that catchy riff that ANTHRAX may have utilized in their more popular stages. “War,” one of the fastest tracks on the album which is ironic in the fact that the lyrics are from BOB MARLEY (must be a dreadlock thing), but this song could have easily been on THE ART OF BALANCE. “King Of Nothing” sounds placed somewhere in the middle of The War Within with the breakdown feel, guitar melodies, and guitartonics in the solos.

Halfway through the album it’s realized that SF are committed to being themselves again and that they refuse to listen to anybody but themselves and producer ZEUSS. You can also find traces of past songs with “The Taste Of Fear” as it could be related to “What Drives The Weak” with similar parts and song pattern. “Embrace Annihilation” has a shuffle to its verses and drumming sensation JASON BITTNER shows enough restrain when needed and also adds some jazz-flavored ride cymbal work during the choruses to add some spice to the rice. And now the scarey revealing part of the album is the song “Picture Perfect” which if you can imagine SEBASTIAN BACH singing on the song you will hear SUBHUMAN RACE era SKID ROW. Hate me if you will, but if you know your music you will have to agree. After that flashback they go back to their past again with “A Public Execution” which could have been on OF ONE BLOOD and bares a resemblance to MEGADETH in some of the riffage. Album closer, “Dead And Gone” is typical for the boys from Massachusetts displaying all they own with thrashing, riffing, barking vocals coupled with clean vocal passages, time changes, double-kick, breakdowns, melodic guitar passages and solos that amaze with speed, accuracy, and uniqueness.

While there are some parts of the album that could have more thought put into them (unnecessary musical repetition or slow parts that add dynamic but aren’t necessarily needed), the Shads, should the public have an open mind to them still, should recapture what was lost on the last album. I do hope they can get some proper tours (as opposed to FIVE FINGER DEATH PUNCH) in the near future that will bring them back to the respect they deserve for their great outing on Retribution!

RATING: 8 / 10
LABEL: Everblack Industries / Ferret
WEBSITE: www.shadowsfall.com

By Mark Thompson

Municipal Waste – Massive Aggressive

For three albums, Municipal Waste has crafted compact nuggets of crossover thrash perfect as soundtrack material to raging keggers worldwide. The band has gained a reputation for having witty, humorous lyrical content and an ability to not take things too seriously; however, on Massive Aggressive, the Virginian foursome takes a more stern tone with their music. Don’t worry; they haven’t transformed into politically-charged activists or angst-ridden commentators. Instead, the band slows the pace down a tad bit in certain spots and keeps the juvenile lyrics to an absolute minimum. This new change of direction is a welcome one, a sign that Municipal Waste has some progression in their bones, at least from a lyrical perspective.

Musically, this is the same band that came charging into the metal scene back in 2003 with their debut album, Waste ‘Em All. With a few exceptions, the band is as gung-ho in their sonic mayhem than ever before. Thirteen tracks blaze by in a little under half-an-hour, with only the closer “Acid Sentence” breaking the three-minute mark. Songs speed by in a blur, with scorching riffs acting as the catalyst to the approaching chaos. Wild guitar solos come and go like flashes of lightning and the rhythm section somehow holds the madness together with a precision that can only comes with experience. The bass work, in particular, is audible and right up front in the mix, providing awesome intro licks on “Relentless Threat.”

Most wouldn’t expect a party band like Municipal Waste to sudden wake up one day and realize that there’s more to life than hangovers and alcohol-induced comas, but that’s exactly what they do on Massive Aggressive. While there were songs about religion and current trends on past albums, a hint of irony or sarcasm seem to linger in the air; not so on tracks like “Divine Blasphemer” and “Media Skeptic.” When Tony Foresta barks “frustration slowly builds and it’s crushing all my will” on the title track, the listener can feel his anger.

The goofy and laid-back side of the band isn’t completely forgotten about. The band’s knack for catchy songs rears its head on the over-the-top “Horny For Blood” and “Wrong Answer,” the story of a game-show where the grand prize is survival. Even these songs aren’t as childish and low-brow as past numbers from Municipal Waste, a true sign that the band has made steps towards maturing as songwriters and musicians.

What makes Municipal Waste stand out amongst the rest of the pack is their ability to make memorable and tuneful songs. It doesn’t take a dozen listens to retain anything; the first time through is all that is needed to get the mosh pits going and the drunken rampages continuing long into the night. From the gang chants on “Wrong Answer,” to the Iron Maiden-esque harmonies on opener “Masked By Delirium,” the band does a great job of keeping the listener’s attention from the very beginning.

It took four albums, but Municipal Waste finally evolved from drunken frat boys into drunken suit-and-tie businessmen. Massive Aggressive isn’t a complete 180, but a slight step forward towards something larger in scope for the foursome. Some of the die-hard fans will yearn for more of the carefree and inebriated side of the band, but that perspective has been beaten to death at this point. All the trademarks from earlier albums are there, but there is a new layer of freshness to the sound that is both appreciated and utterly satisfying.

Rating: 7.5
Label: Earache
Web Site: http://www.myspace.com/municipalwaste

By Dan Marsicano

The Boy Will Drown – Fetish

UK technical death metallers THE BOY WILL DROWN unleash a monstrous release with Fetish, and take technical death metal for one wild ride!  Not only on the brutal side, but their technicality expands into a ton of experimentation, obscure structures, sudden time changes, schizophrenic speeds, and yes, also some beautiful melodies.  You’ll see that the band offers something special – definitely more than standard.  Influentially, these guys take a lot from The Dillinger Escape Plan, Into The Moat, and Psyopus, but they do also take elements from the whole musical spectrum and use them to their advantage to create THE BOY WILL DROWN.  Their 2009 Earache Records release, Fetish, is filled with plenty of surprises, crazy fretboard action, and tons of hyperactive brutality to keep that head of yours banging.  Whatever sub-genre of metal you like, THE BOY WILL DROWN will have something to suit your fancy, if it’s not already the music as a whole you dig.

Fetish begins with “Deep Throat”, and begins the blast at maximum tempo, and technical guitar work goes all over the place.  And when the song hits around mid-point, the band introduces some beautiful melodies that really set a great mood, but knowing these techsters, they aren’t going to sit still because the frenzy hits once again with their crazy guitar work.  “Deep Throat” does show more of a straight forward approach from these guys, but moving into Fetish, many twists and turns will become present.

The release continues to move on in many different directions, and the technical obstacle course of Fetish really gets the adrenaline rushing.  Songs such as “Irminsul”, and the Psyopus screeching dissonance in “Josef Fritzl” give some frantic blasts of chaos.  Like much technical death metal does these days is slow down the pace, give a few random jazz grooves, and give some deep melodies which THE BOY WILL DROWN pulls off pretty well.  Add em to that list.

Closing on “Suis La Luna”, the guys really show more of a sense of direction.  This song is a monster, and unleashes a ton of monstrous brutality, with equally monstrous technicality.  What surprised me is how smooth and under control the ending of “Suis La Luna” is.  Could we be looking at a new musical direction?  Again, I’m sure these guys have it all planned out.

THE BOY WILL DROWN shows a ton of potential in becoming one of the tech metal elite.  And when you have The Dillinger Escape Plan asking you to tour with them, you know you’ve got some badass going on.  The Dillinger Escape Plan influence is definitely evident in their sound, as well as touches of Psyopus, but THE BOY WILL DROWN’s blend of talent really makes them stick out.  Though the band may seem out of control at some times with their out of the blue riffing, I believe they have their formula in good hands.  Let’s watch these guys mature more, for THE BOY WILL DROWN is going to be one hell of a force to be reckoned with in the future . . .

Rating: 8/10
Label: Earache Records
Website: http://www.myspace.com/tbwd

By Alex Gilbert

Graves Of Valor – Salarian Gate

South Carolinians GRAVES OF VALOR give a good debut with Salarian Gate, and a good entrance into the modern extreme metal scene.  These cats have been around for a bit, some being ex Through The Eyes Of The Dead members, and they do seem pretty experienced in mastering a forceful sound.  Although the Through The Eyes Of The Dead sound is evident in many ways, GRAVES OF VALOR still does it well. 

Salarian Gate opens up with the title track, where the twin guitar attacks unleash dark melody, and tones of modern extremity.  The title track is a solid album opener, and GRAVES OF VALOR prepares you for the rest of their attack.  The CD moves on with some typical chug patterns in “Bridles Of Incitatus”, but that is not to say they don’t add some good punch into them, because they do.  Overall, the band takes traditional death metal and mixes it together with modern deathcore, and they combine the two pretty well.  There’s plenty of monster riffs and trigger crazy drumming in “Pestilence” and a pretty good guitar solo finds itself in the mix, too.  Songs such as “The Clever Ape” show the tempo at max, with some good tremolo picking, slick melody, and brutal breaks.  “The Clever Ape” really shows their solid guitar teamwork well, and a solid musical direction.

Salarian Gate closes with the song, “No Gods Left”, and gives an eerie approach in the intro, and the song continues to build up whether the mighty roars of vocalist Damon Welch, or some mean distortion from the guitar team.  “No Gods Left” is set at a one stomp tempo, but indeed shows another side of GRAVES OF VALOR.

GRAVES OF VALOR shows promise, and with a debut like this, I’m stoked to see this band grow.  I mean, they definitely have that marketable sound that the kids are eating up these days.  Check them out now, for they’ve taken an already crafted sound and polished that fucker up!

Rating: 7.5/10
Label: Relapse Records
Website: http://www.myspace.com/FROMGRAVESTOVALOR

By Alex Gilbert

Pantheon I – Worlds I Create

Back in the day, black metal was a wall of distorted sound, a continuous stream of blast beats, monotonous riffs, and shrieks of terror. Melody, clean, and polish were indefinable words in the black metal dictionary, signs of a band looking to break out of a close-knit community in hopes of making it big. When keyboards began to work their way into the genre during the mid-90s, the backlash was not as great as some may have expected.

Sweeping like a tsunami through the black metal scene, more and more bands began using keyboards to stimulate their own versions of the ultimate orchestra of doom. While some went a bit overboard at times with the symphonic elements (Cradle Of Filth), others used keys to accentuate a mood or add tension (Emperor, Moonspell). As the years wore on, the orchestration, piano, and strings work began to sound artificial and processed, instead of natural and organic.

Pantheon I avoids this issue by having a full-time cellist, Live Julianne, in its ranks; one of the few bands in the genre to do so. The cello is not a gimmick or a bullet point for publicists to sell off to the latest magazines and websites as the most innovative direction any band has ever taken. Live Julianne is a talented musician who knows how to incorporate just the right aesthetics to the proceedings, without coming off as tacky or overblown, as evident by the band’s third album Worlds I Create.

Comprised of both current and former members of fellow Norwegian band 1349, Pantheon I has taken musical elements of that band, and with the help of the cello, added a wide range of dimensions to the songwriting that raises it above the competition. At first, having a string instrument present throughout the album seems a little strange, but as time goes on, the dark and soothing energy that emits from the cello washes over the listener, acting as a sharp contrast to the blasting and tremolo picking that drills a hole into the inner eardrums.

Pantheon I specializes in composing intricate songs that don’t conform to any one particular sound. With the exception of the insanely brutal “Burn The Cross,” there isn’t a track under five minutes.  Opener “Myself Above All” starts the album with an epic bang, as everything from the band’s arsenal is thrown out. Acoustic guitars clash with pummeling drums, vocalist Andrè Kvebek screams out words of blasphemy under soft cello melodies, and Armageddon seems to lurching closer by the second. It’s an exhausting listening experience, and the seven tracks that follow don’t make things any easier.

As the album goes on, the hatred becomes stronger, with “defile the holy ghost” and “cursed by the bastard son of illusion, the sight of Christ blinds my eyes” the daily sermons from the book of Pantheon I and the meaning of life coming down to one simple question; “Is Satan the architect in my redemption?” The band throws surprises out to keep Worlds I Create from falling into a black hole of mediocrity, including featuring clean vocals from Katatonia vocalist Jonas Renkse on “Ascending” and a solid guitar solo to “The Last Stand.” Closer “Written In Sand” is the highlight of Worlds I Create, with harsh spoken word passages portraying a grim picture of the Christ we all know and love, a menacing pace, and a poignant solo section from Live Julianne.

Worlds I Create took multiple listens to sink in, but the full weight of Pantheon I’s music became easier to bear over time. Incorporating a cello into black metal isn’t something seen everyday in black metal, and Pantheon I takes full advantage of being the minority in this category. The melancholy, yet warming, vibe that the cello brings is a breath of fresh air that feels like a crisp breeze from the ocean on a sweltering day at the beach.  Worlds I Create isn’t a perfect album, but gets by with the help of unorthodox songwriting and a willingness to put all their cards on the table when it comes to the cello work, with no second-guessing or pulling back.

Rating: 7.5/10
Label: Candlelight
Website: http://www.myspace.com/pantheoni

By Dan Marsicano

Killswitch Engage – Killswitch Engage

KILLSWITCH ENGAGE is back, and while their formula hasn’t changed much, the band remains consistent, because they know their sound, and they know it well.  Their 2009 self-titled Roadrunner Records release debuted on the Billboard Charts at #7, selling 58,000+ copies its first week, and marks the band’s highest charting album.  Congrats guys!  Their songwriting is still strong and though they don’t reinvent the wheel, they do know how to make the most out of their melodies to create an album worth of songs.  There are plenty of sing-a-longs, plus enough metallic kick to keep one interested.

KILLSWITCH ENGAGE still brings those catchy choruses, melodic verses, and when they get heavier, they can show an expertise in that area as well.  The vocal power Howard Jones is amazing, whether he’s screaming his guts out, or singing his heart out.  Whether or not that style is your cup of tea, you must admit he does it well, and plays it in advantage to get the most out of the band’s music.

The album opens with the brutal bursts of “Never Again” in the intro, which will hook you right away into the new KILLSWITCH ENGAGE album!  The verses gallop furiously with some great double bass drum accents, and the chorus is how you’d expect it: catchy.  The guitar solo behind a brutal rhythm is a treat for sure, and “Never Again” closes with a bang.

As the album moves on, some interesting rhythms are introduced like in “I Would Do Anything”, and some great riffing in mood setting anthem and album closer “This Is Goodbye”.  Their self-titled album also brings in some of their traditional metalcore roots with blistering tracks like “Reckoning”, while adding a little extra push.  Their power ballad streak does continue where “The Return” continues on their [The End Of Heartache -> My Curse] path.  Ultimately within their growth, the band has taken some elements of all their past work and bundled it up into one.

Generally, the guys are still playing it safe, but I suppose as metal goes sometimes, better safe than sorry.  Hopefully next time we see the band break out in some more ways, while keeping the formula they’ve created for themselves.  But for now, check out the album, for it does deserve your attention.  Since not much has changed, you might not be  completely stunned at first, but this is one you’ll have to let grow on you, for it’s the band’s songwriting that is their strength.  And if you are a die hard KILLSWITCH ENGAGE fan, you’re for sure going to love this one.

Rating: 7.5/10
Label: Roadrunner Records
Website: http://www.myspace.com/killswitchengage  

By Alex Gilbert

Valkyrja – The Invocation of Demise

In black metal circles, Norway is the breeding ground that began the genre’s sudden rise in the underground during the early 90s. With bands such as Emperor and Immortal leading the march into hell, it seemed inevitable that others would follow in their blasphemous footsteps. Sweden became another country that churned out black metal bands like a well-oiled machine. Lord Belial, Marduk, Dissection; the list goes on and on, with each band adding their own twist to a conventional sound.

Fellow Swedes Valkyrja are looking to obtain a piece of the oozing black pie with their debut album The Invocation Of Demise. Originally released back in 2007, it was re-issued with new artwork by Metal Blade, who signed the band earlier in the year. The quintet sticks to an established formula, one that has been passed down from countless bands. Throughout the running length of The Invocation Of Demise, Valkyrja shows conviction in their sound that helps the album to stand out in a ever-crowded genre.

There is little that is modern about Valkyrja’s debut album. Sure, the production is clearer than the hollow and cold sounding albums done by the greats of black metal during their heydays, but the true essence of The Invocation Of Demise lies in the past. The blastbeats are overwhelmingly loud, the guitarist’s tremolo picking is unrelenting, the bass is almost non-existent in the mix, and the vocals are raspy, torturous screams of pain; a throwback to the days of old, where these traits were the clean-cut definition of black metal. Valkyrja plays with a hunger and drive that can only come from a group of musicians with knowledge of the genre and appreciation for those who came before them.

While the band mainly sticks to a chaotic speed, acoustic guitars make an appearance to provide a classical feel to “Plague Death” and build an ominous atmosphere on the brief instrumental “On Stillborn Wings.” These moments are evenly spaced throughout the album, in order to provide clarity and a chance to catch a deep breath. “The Vigil” has Valkyrja experimenting with a mid-paced tempo, an adventurous endeavor that succeeds with flying colors. The fantastic closing guitar solo is surprisingly melodic and epic in scope, a drastic shift from the relatively straightforward riffs scattered on the rest of the album.

With the exception of two short numbers in the middle of the album, the other seven tracks are over five minutes long. For the most part, Valkyrja keeps things moving at a quick pace, so that the lengthiness doesn’t become a deterrent for the listener. “Sinister Obsession” almost hits the nine-minute mark, but the band incorporates an extended intro and some lead guitar work near the last third of the song. A weird production glitch is exposed, as the fade-away ending mysteriously comes back loud for a split second; whether that was the intention of the band or not is unknown, but either way, it is a distracting sound balance issue.

Save for the production qualms on “Sinister Obsession,” and the pointless filler “Twilight Revelation,” The Invocation Of Demise is an excellent debut album that sounds both familiar and fresh at the same time. While gaining little publicity when it was originally released two-plus years ago, the album has a chance to gain a second wind thanks to the re-issue by Metal Blade. Black metal fans will find a satisfyingly grim listening experience ahead of them on The Invocation Of Demise.

Rating: 8.0/10
Label: Metal Blade
Website: http://www.myspace.com/valkyrjaswe

By Dan Marsicano

Divine Heresy – Bringer Of Plagues

A couple weeks back at the Rockstar Energy Mayhem Festival brought back old memories running into many friends from over the years in the music industry. Throughout the course of the day I did manage a ‘Hello’ to the man who I first saw on stage opening for IRON MAIDEN at The Palace. Through recent controversies, DINO CAZARES still remains the friendly guy I met many moons ago and used to see at gigs throughout the LA area. He knew of the site and look for an interview to appear in the future. But for now it’s time to talk about Bringer Of Plagues from DIVINE HERESY.

Say what you will, but I will state it here and now that this album is a step up for DIVINE HERESY as their debut left me wondering when the FEAR FACTORY reunion might happen. Opening Track, “Facebreaker” is just that with a swirl of noise and blasts that transfer tempo changes amongst what I always thought was unique in the way that Dino approaches the songwriting with progressions that set his bands apart. But even above and beyond that is the precision drumming of TIM YEUNG (NILE, VITAL REMAINS). There is no denying him as one of the finest in the genre as although most precision players don’t demonstrate the ability to play with power, the sounds and attack that Tim produces on this album show that he is not a typical speeddealer as evident across the album, especially the title track.

New Vocalist, TRAVIS NEAL shows that he was the right choice for DIVINE HERESY but there is no denying that his more melodic passages bare a resemblance to those of BURTON C. BELL (FEAR FACTORY) which isn’t a bad thing, just shows where the heart of Dino truly is when looking for a sound. “Anarchaos” has a crowd chant style chorus that will get everyone enthused in the pit, but the song does take a slight step back in the middle portion with the monotone vocal phrases. “Monolithic Doomsday Devices” marches on in true metal fashion where Tim again displays his drumming skills by bridging simple fill patterns with flourishes on his ride cymbal interspersed with his kick and toms. The album does have a unique twist with “Darkness Embedded” which is more of a, dare I say, ballad? Travis Neal shows that his abilities can outreach this genre with a heartfelt delivery and what is really interesting is that if you strip the modern day heaviness and double kick out of this song, you’d have a true throwback power ballad.

Could this album sway the naysayers to be believers? Not necessarliy as they probably don’t have the balls to give it an honest listen. But if you can give it an honest listen, then be ready to enjoy a great offering come July 28!

Rating: 8/10
Label: Century Media
Website: www.myspace.com/divineheresyband

By Mark Thompson

DevilDriver – Pray For Villians

DEVILDRIVER is back, and like a great band should, they are back at their strongest.  And after much anticipation, it sure is a great feeling to hear as big of a band as DEVILDRIVER is still keeping it real, and still keeping it metal!!  DEVILDRIVER still unleashes some of the rawest, heaviest, straight no chase, in your face metal.  As a band they’ve stuck to their guns, and found ways to make those guns a fucking arsenal.  Dez Fafara’s signature growls have strengthened, the guitar teamwork is monstrous, and John Boecklin is even more of a madman on the drums!  I love how the guitars have evolved, mixing those monstrous riffs into some epic compositions – combining both dark moods and hopeful bursts.  Though Coal Chamber is frequently thought of when DEVILDRIVER is mentioned, DEVILDRIVER has really made a mark of their own.  Not only for changing with the times, but for evolving into what they are today.  I mean, Dez made a damn good decision to want to keep getting heavier and heavier, and DEVILDRIVER has sure proven that on Pray For Villians. 

Making an explosive entrence and claiming their place, DEVILDRIVER unleashes the title track, “Pray For Villians”.  Straight into the massive aggression of DEVILDRIVER, solid structures and punishing riffs blister the track, and when the anthem driven chorus of, “They pray for villains when our heroes let them down!” the band really sets the mood.  Later moving into a great time change, DEVILDRIVER continues to fire away until the end.

Continuing on to “I’ve Been Sober”, a catchy and moving guitar riff let’s you know something big is about to happen, and John Boeklin checks in with some massive double bass accents, unleashing the full force attack.  And wow, when getting into that raw presence that DEVILDRIVER does so well, the song really begins to give you the chills.  Dez has really picked up on his hooks, and still keeps the balls to the wall brutality when needed.  Such a great melodic section enters around midpoint, leading into the guitar solo’s shredtastic fretwork, and the band makes “I’ve Been Sober” both a memorable anthem, and inspiration to pick up your own life, and getting back on track.  That is the power of music. 

DEVILDRIVER sure goes BIG on “Resurrection Blvd”.  I’ve never heard DEVILDRIVER so aesthetically awake, and “Resurrection Blvd” is one of those songs that will catch you within first listen right away!  From the verse’s sweeps matched with John Boecklin’s frantic double bass blasts, to Dez’s powerful vocal delivery, the song truly moves you.  The monstrous machine in DEVILDRIVER continues to work hard in this song, and the band plows through the verses.  Oh, and when DEVILDRIVER closes “Resurrection Blvd”, take note of how the band continuously builds up the song, adding some strong melodies that counter attack its strikepoints.  Brilliant song, hold on . . .  I’ve got to listen to that one again.

On another note, the cover art to both the regular and special editions are badass!!  I mean, owls do keep it metal all night long.  But back to Pray For Villians.  Their blistering new album is uncompromising, unfiltered, and undoubtedly a contender on the best of the year lists.  From all the hard work that the band puts into their name, DEVILDRIVER deserves every bit of the moment.  Every song sticks out for itself, while all fitting together in one big knockout punch.  Pray For Villians has my respect, and as big of a band as DEVILDRIVER is, it’s exactly what we need for the masses to turn towards the heavier side of metal.  DEVILDRIVER’s future will continue to grow bigger, and add to their own world they’ve already created.

Rating: 9/10
Label: Roadrunner Records
Website: http://www.myspace.com/devildriver

By Alex Gilbert