“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

“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 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

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

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

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

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

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 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

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

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 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

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

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

“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

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

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

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

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

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

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

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

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

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

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