http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Thu, 1 Mar 2007 09:53:44 EST http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. 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Songs like "Hand of Doom", "House of Death", and "Call To Arms", became personal anthems. That album came out during the aftermath of September 11, 2001, and contains the perfect amount of emotional drive. Mixed with the historical context of that day, I felt that it was successful in its attempt to portray a call to arms, time for us all to get off our collective asses and fight. Even though I had been a fan of their music for years, that was the first time I actually took them seriously. It was then, because of the context, that I came to realize they are serious about their message, and it is this message that never wavers. Unfortunately, it is a message that never wavers. It starts and ends with the big guy, Odin, and the goal of all Norse warriors, to fight valiantly and die in battle so he can cross over the rainbow bridge and chow down in the great mess hall that is Valhalla, sitting next to their King, Odin. It is this imagery, though, that causes people, including me, to snicker and visualize a bunch of white dudes standing around a fire with horns on their head, waving animal carcasses on a stick, and shouting "By the power of grey skull!". This is a different time than it is was then. Yes I know, the age of war is not over, but without the real world context this time around, I cannot take the message seriously. Gods of War isn't another call to arms as Warriors of The World was. It is a concept album, one in a series of tribute albums to come covering the Norse Gods of legend. The series kicks off with this rousing tribute to the head honcho himself, Odin. In a series dealing with Norse Gods, to begin with anyone else would be completely disrespectful and potentially catastrophic. Odin just might send over Thor to jam a lightning bolt up your ass if you didn't.I am not much of a fan of concept albums, because what it really boils down to is this, I want to hear the music, not all the peripheral stuff. Such is the same with Manowar, I want to hear multitudes of rising anthems, crescendos that come fast and furious. I want to heat their version of power metal, long carrying the torch of true metal, played like they just invented it. The new album contains several of those moments, but there are as many moments that do not. Believe me, I get concept albums, there are going to be lulls, ebbs, and flows. There is a story to be told, and sometimes a band has to go outside the song to lay the groundwork for the story. Something the songs cannot do this by themselves. So, what eventually happens is, concept albums tend to wander off on tangents and normally I will let it take me with them, for short necessary trips, but with Gods of War, nearly half of the album is spent ring around on these tangents. And that is what kills this album in the end. The flow is needlessly thrown away in momentum damaging overtures that don't necessarily assist in telling the story. Example: Beginning the album with two overtures, lasting nearly nine minutes. That's too much set up, when all I really want is to hear the metal, this is a metal band after all, am I wrong? Another example is the placement of the hymn, "Army of The Dead Part 1", which stops the momentum that "King of Kings" created dead in its tracks. When "Sleipnir" gets going, which is a nice little power metal diddy actually, the pace quickens again and stays moving forward through to the next tune, my favorite track, "Loki God of Fire". The guitar riffs that accompany the chorus are deliciously different than everything else on the album. Coupled with their only real attempt at groove, the song might actually make it into a personal top ten Manowar list.Manowar is not a stranger to ballads, and this album does include them. I just question the placement of them. After the double shot of good metal I mentioned earlier, I think it was too soon to slow it down. In this case what did it was "Blood Brothers", a good ballad for sure, but it is repetitious, and quite frankly, would have been great at the end, fading away as the album closes. If that didn't fully kill the momentum, what followed further cemented my desire to hit the skip button. The Odin trifecta, situated directly and smack dab in the middle of the album. "Overture of Odin" is exactly what it says, "The Blood of Odin" is nothing more than atmospheric dialog, and then, finally, the band gets around to picking up their instruments again to finish off the trio with "Sons of Odin", a typical Manowar song, and really, not all that good. There are more overtures and dialog to come. I'm not quite sure why, after all that. "Gods of War" sounded so good to me, after all it is a pretty simple hymn. Either it really is good, or it was the fact that I had to wait almost a half an hour to hear it. In the end, I came to the conclusion it's combination of both. Only one track remains on the regular album that is worth noting, the curiously titled "Odin", a mid-paced rocker that could have been better suited sandwiched in between "Loki God of Fire" and "God of War". The copy I received has a bonus track "Die For Metal" which is a classic fist pumping anthem for and about the desire to save metal. Falling completely outside of the concept box, which I suspect, is why it is a bonus track. RATING - 4/10 - I am just not a big fan of the over indulgence of the set ups, overtures, quiet instrumentals, and dialog. Is this Manowar? or is it Rhapsody of Fire? Much of this could have been cut out, the track listing consolidated, and emphasis placed on the actual metal tunes. Then, follow it up with a ballad if you must. But after forcing myself to listen to the entire album, as is, several times, I cannot in good faith say that I ever really want to listen to the tangents anymore. In the age we live in though, you can just take a big giant axe to much of the album, rearrange what's left to your desired listing, and you can actually salvage this album. Music60341@blogcritics.org Thu, 1 Mar 2007 09:53:44 EST http://blogcritics.org/archives/2007/02/14/082135.php Brian GouldIn 2006, this thrash metal juggernaut released their debut album, Malevolent Rapture, to a whirl wind of positive reviews, catching the metal world by surprise with a deadly balls to the wall attack. The free-for-all, wide open surge of guitars and drums are incredibly refreshing, as tired as I am of hearing band after band attempt to take the genre to higher levels, only to fail miserably and fall a notch or two. LOTD came at the right time last year, a spark in a sea of miasma, and it is no different this year. The second half of 2006 nearly provided nothing worthy of note, so their release this year is even more welcoming to my ears. With haste, this new release hoses off the metal plate that, at this point, is piled high with monstrously overwhelming mounds of crap. Like their debut, Sons of The Jackal is raw, and consists of 10 viscously powerful tunes that are, quite fittingly, packaged tightly within a quick play list. This time around a brain-frying 37 minutes. The album busts open with the title track, a tune that plays like a swift kick in the nut sack, and possesses a groove that offers no apologies. Speaking of groove, "Undead Stillborn" presents a riff cycle worthy of any band playing not only in this genre, as with "Avenging Archangel" as well, but in genres that are closely related, like death, or even better yet, what's being heard out in the technical death field. Although, LOTD are not technical death, they aren't that far from it either. Fierce, crunchy speed is the name of game once again, as tune after tune sticks with the same winning formula that their debut offered. After two really good releases now, they can tear up the meal ticket, the banquet is no longer on stand by, they're at the table. Thrash is a widely inclusive genre, but I believe this band to be at or near the top of it at the moment.Yes, I know the critics of this band, to which there are only a few, love to stick their nose in the air and point out how little LOTD progress the genre, preferring to play from the "Slayer crossed with Venom" template, never really stepping off the red carpet that those two bands laid down. Quite often when I am reading these criticisms, I don't see where the justifications lie within their arguments. Singling out a band's similarity to other bands in the past, as a way to discredit the music, while not constructively analyzing their performance, is not wise and seriously lacks integrity. The music is all that matters, if it is played well, as this album is, then what you should do, instead of worrying about silly acumen, is crank the shit up. That's what metal music is for, and that why I love it. Listen to me, not those blow hards.RATING: 9/10 - Yeah, Yeah, Yeah... I am going to dispense with the soap box. If you liked their first release, or are on friendly terms with their previous incarnation, Occult, then you need to find this release and fork over some of that wallet confetti. I have spun this album well over 30 times, many of which were in my car (the proper way to gauge an albums effectiveness), and it hasn't grown old to my ears yet. Is it carving new ground? No, but who cares. Music59652@blogcritics.org Wed, 14 Feb 2007 08:21:35 EST http://blogcritics.org/archives/2007/01/03/162625.php Brian Gould In a year that, in my mind, produced not one album worthy of a 10/10 score, I am beginning to worry that maybe I have become too critical and less like a metal fan. But, in my top metal albums of 2006, it is clear I haven't developed genre tunnel vision. There is Doom, Melo-death, death, thrash, power, and classic speed. Here they are, and in particular order, you know, first to last.1. Place of Skulls - The Black Is Never Far These doomsters have put out an album full of sweet chords, thought provoking lyrics, and lush melodies. At the six month point this year, this album was hanging in at fourth, but it gained strength with a gigantic second wind, so much to the point I couldn't stop listening to it, and has now become my most spun CD of the year. If I could loosen up and/or go back and change my rating, this would be the one that gets a 10/10.2. Communic - Waves of Visual Decay Following up their highly successful debut, laughing at the thought of a sophomore jinx, these Norwegians have produced another near masterpiece of power metal. Lighter and breezier than what usually emits from the cold bitter north, this trio has got "it", and flaunt their talents effectively. This time around, any similarity to Nevermore is gone, which is good, but what they have done is explore the uniqueness of their sound. This has paved the way to their own greatness, which can now be fully achieved and allowed to flourish on future releases.3. Legion of The Damned - Malevolent Rapture This album blew me away early in the year, and still gets major spins my CD player to this day. Relentless full scale guitar attack, ear drum pounding beat, all the while built around such infectious grooves that I couldn't stop listening to it for nearly two months. Legion of The Damned is the band formerly known as Occult, changing their name to give themselves a fresh start when they changed labels. Thankfully, they didn't tinker with their sound much, but it is stuffed full of fresh ideas and packed with plenty of new found energy.4. In Flames - Come Clarity After the mixed reviews of their last two albums, my favorite metal band comes back with an album resembling the past successes of Colony and Clayman days instrumentally, while keeping the cleaner vocals of their recent outings. Although, they do appear to have progressed past the Jonathan Davis whine that has been so heavily criticized by their old-school fans. I enjoyed the straight forward thrash riffs, and the melody of the dual guitar attack. Sure, it's not the good ole days of Jester Race and Whoracle, but why wish for something that is never coming back. Enjoy In Flames for what they are now, still a great band that haven't yet fully turned to the dark side. 5. Motorhead - Kiss of Death Old school thrashers, if not the originators, come to the table with their strongest release in years. So full of energy, the album is able to get your head banging one minute, but singing along the next. Lemmy and company have stayed relevant all these years, thanks to their no bullshit attitude and timeless delivery. In my humble opinion, this is one of the best albums they have ever produced.6. Eyes of Fire - Prisons California's Eyes of Fire and their form of metal moves around from doom to death to gothic, but what does remain constant, their music is very dark and atmospheric. Melodies and building crescendos make them appear in and swim around the ever present wall of stoner fuzz, punctuated by vocals that are gruff and buried within the music. The cadence of it all makes it a very enjoyable listen, even after the 50th spin. I see a bright future for these guys and patiently await a new album.7. Vader - The Art of War (EP) Quite simply, the best EP I have ever heard, and therefore deserves a slot in thisyear's top ten. Brutal technical death at its finest, it could have been the definingmoment of this genre had it been released and been able to sustain its greatness as a full length album. They almost achieved just that later in the year, with their full length release, Impressions In Blood. This has been a great year for death metal, due in part, to veteran bands like Vader coming through with solid efforts. 8. Decapitated - Organic Hallucinosis Another veteran band within the technical death genre who came through in spades in 2006, with this release. The change at lead vocals did nothing to slow this band down, even though Coven is a little more accessible to the ear than Sauron was, but I believe their credibility is still fully intact, as is their vast well of creativity. I fully expect many more great albums from this, still, young band.9. Vader - Impressions In Blood This is the full length release I mentioned earlier in this top ten list. This band has become, to me, the barometer of excellence in death metal. These guys just can not seem to do anything wrong. All of these death metal albums I have listed here have one thing in common; they are short, sweet, and to the point. They don't play around with layers and layers of slow melodic pretentiousness. The only thing they are interested in is bludgeoning you over the head with superior chords and blast beats. I am one of those that screams "swing away!"10. Mystic Prophecy - Savage Souls It cannot be much of a surprise to see this band on my or anyone else's top ten list this year, as they have been a major force in the power metal genre for years. Quickly becoming regarded as one of the top power metal bands on the planet, and the evidence is mounting with frenetic speed through the vast review vault spanning all their albums. The crunchy melodies, complimented by the wonderful guitar structures of Gus G. make for a highly entertaining mix worthy of all the accolades it has received. I'm not usually the flag bearer for the power metal genre, but damn it, I cannot deny greatness when I hear it. Special mentions: I will throw a bone to several albums that didn't make the cut, but are fantastic albums just the same. They are as follows:Mustasch - Parasite ! (EP), Axel Rudi Pell - Mystica, I - Between Two Worlds, Steel Cage - Obsidian, and Witch - Witch. Music57743@blogcritics.org Wed, 3 Jan 2007 16:26:25 EST http://blogcritics.org/archives/2006/10/02/092921.php Brian GouldIt takes some serious balls to dink around and get all experimental with your tried and true sound, a sound that is beloved by so many fans from all over thrash's good green earth. From the opening notes of the first At The Gates album to The Haunted's 2004 comeback special, rEVOLVEr, they've created and raised to the highest level their form of permafrost thrash. It's a sound that has created an atmosphere where melodic death could flourish, spawning such notable and fellow Swedish bands Dark Tranquility, In Flames, and Soilwork. Injecting some other forms of metal is high risk/high reward deal, and that is what true metal is all about, taking a chance. Does it pay off with this release? I have mix feelings.The album begins as normal; "The Flood" and "The Medication" deviate from thrash very little. Two really good tunes and quite frankly, what I expected to hear. Most of the time, when I pick up an album from a thrash band, I take it for granted I am only going to hear what they have always put out, whether or not it is good. But, with the bass fuzz landscaping the background, the tribal drumming and breakdowns of "The Crowning," my ears perked up. I was listening to a stoner tune. That was completely unexpected, and a nice surprise considering it looked as if they were not finished with good thrash ideas. A fantastic tune, especially the vocal arrangement, although it does have clean vocals along side the usual hoarse screaming of Peter Dolvig, a method that while overused in today's metal does have appropriate uses. Considering that stoner rock/metal is normally one of those forms dominated by clean vocals, it may be a turn around that the thrash screams add something to the former genre not normally heard.Following that up, "The Reflection" tends to tilt toward a progressive Tool sound, though I believe it's not unintentional, it's a good song, just not original. From this point on, the album takes a turn for the worse, sounding less thrash and more metalcore, a year too late trendiness, and unfortunately ordinary. But like I mentioned earlier, they do try new things, such as the synth fuzz of "The Fallout," and the blues beats employed on the "The Medusa." Changing the tempos and times is admirable, but not many work for me. One example, "The Shifter," sounds vocally forced. It becomes a scream fest over guitar work that doesn't keep up, effectively erasing any groove that might have driven the song through to the end. I get the impression there wasn't one single focus for the band here, like they threw a bunch of ideas on the wall to see what stuck. RATING: 5/10 - Overall, with all the experimental wrangling, I believe, even though those employed are new to The Haunted, they are not new to the world of metal, nor is it, what they created. The best music here is the trash we all know they can play, which may be the exact opposite of what they were striving for on this album. Again, changing things up is what music is all about. Redefining yourself is certainly a metal trait, but I say this one fell flat. Unless they plan on changing the world of stoner metal, which was one experiment that did work, I say it is back to the drawing board for The Haunted. Music53763@blogcritics.org Mon, 2 Oct 2006 09:29:21 EDT http://blogcritics.org/archives/2006/08/26/155201.php Brian GouldWhat can Vader possibly record that could top the magnificent The Art of War EP from earlier this year. I consider that EP death metal perfection, and the thought of them releasing a full length album promising to continue that same prodigiousness, excites me to the point of salivation. We are damn lucky to have a band like Vader around, a band that is in their prime, have hit their stride, and arguably, find themselves at the top of their genre. It is especially true this year. I feel this year has not produced nearly the amount of great metal as the last two. A thought soothed when I finally got to listen to this new album. As a follow up to the EP, falling a bit short is inevitable, but it has, nevertheless, met any expectations I had conjured up in my little metal head. As much as I loved The Beast, these last two releases have stepped up the velocity, so much so, I think it tips toward thrash instead of the well worn path of traditional death metal. The drumming is the most noticeable change and appears to be the catalyst for the rejuvenated sound. Increasing the kicks to blast beat levels does sound great when used correctly; however, the threat of losing intensity is a concern to many fans not wishing their favorite band to move from technical death to mechanical death. Although I feel using blast beats can render an album's sound cold when not controlled, but reigned in like it is on this album, I do not think an ounce of emotion has been sacrificed. Opening track "ShadowsFear" drives this aforementioned point home, unfurling with tremendous blast beats and coupled with the Mauser's frantic fret work, could easily have been included on their EP, and sets the perfect pace and tone for what is to follow. While it is fast as hell, it is no match for "As Heavens Collide," a brutal sonic explosion from beginning to end, with a nary a moment to exhale, it is a classic volume dial turner. Feel free to turn the volume dial to its limit, for "Helleluyah ! (God Is Dead)." It doesn't pull any punches either, though it does dabble in some keyboards during the opening sequence, for that church organ with no where to go feel. The rest of the album can be described as an extension of these last three tunes, "Warlords" and "Red Code" are fitting sequels to "As Heavens Collide", while "Predator" and "Field of Heads" hark back to their earlier sound, and drug through the muck, plodding along at a more conventional death metal pace. PITRIFF RATING: 9/10 - Though he is getting older, Peter's vocals are not left behind with this up tempo style of technical death, in fact it appears that he is able to keep up without much effort, his bark is as gruff as ever. Truthfully, the music needs his steady vocals, properly preserving the solidly grounded sound of this genre, while still unshakably Vader. I really like this album. At 37 minutes, it is short and to the point, a length that allows the band to blast away without the pretentiousness of melodic death. Any longer than that, an album such as this can get stale with sameness. The only question I have now is; Can this band be stopped? I hope not ! Music52044@blogcritics.org Sat, 26 Aug 2006 15:52:01 EDT http://blogcritics.org/archives/2006/08/01/000619.php Brian GouldDecapitated have risen up the technical death metal ladder rather quickly over the last six years by producing three excellently crafted albums, thus sending many a fan and reviewer into tailspins comparing the band to fellow Polish thrashers Vader and Canada's Cryptopsy. I could name quite a few others, but they have a sound that is unique. Yes, I am aware that outsiders can't hear the difference, just as I can't tell the difference between rap artists.Focusing more on the 'technical' side of the genre can tilt a band's base toward thrash or melodic death, and of course will start the despairing growls of fans crying "sell out," or lumping them into the rest of bandwagon-jumping metalcore bands. Thankfully, Decapitated have not driven themselves off their well-established credibility avenue. Riffs and pedals are still delivered at breakneck speeds and with rancorous blunt-force trauma to your ear drums. The biggest and most obvious question surrounding this release is the switch at lead vocal, out goes Sauron and in with Covan, who previously performed with Atrophia Red Sun. Covan is an excellent vocalist and delivers a very powerful death metal vocal; although he is cleaner than Sauron, his voice confidently holds its own amongst the savage yet controlled guitars of Vogg, who is a force deserving more recognition in the metal community. The perfection of such instant classics like "Day 69," "Visual Delusion," and "Flash B(l)ack" have to be heard to be believed, as all three are thrash-on-a-crack-binge. Self-produced and delivered at ear splitting volumes, with a rich, full bottom end all the while not letting a single note get missed, all sounds can be heard and treasured by the listener. The other tunes, while good, by contrast are slightly less than special due to their sound being drug through the swamp a little, essentially sounding definitively more chug than slick. That is not a bad thing, but lowers my excitement level a bit.Rating: 9/10 -- A short album, just over 30 judicious minutes, plays like an EP, which I believe may have been the correct decision. While the album can be listened to as background music, it is so much better when heard with a focused ear just like Vader's EP earlier this year. This might be the way the go in these days of short attention spans, compact and to the point. Overall, another excellent release for these death metal veterans, who are still young with plenty of youthful angst ready to be unleashed. I believe we can assume that we are going to be hearing from them for many more years. Music51007@blogcritics.org Tue, 1 Aug 2006 00:06:19 EDT http://blogcritics.org/archives/2006/07/27/173222.php Brian GouldThis time Sentenced did what they've been singing about for years: they ended it all, with their fans having to carry the load of sorrow. A wonderful twist of reality, really, an agony smoothed over when sentimentally poring over more than a decade's worth of music to use as heartened mementos. I presume they will keep their room exactly as it was left. The blood that still flows from that fatal self-inflicted wound ending one of the best bands in the business, a familiar voice screams out, but this time it's growling to a different tune. Poisonblack, the once side project, now full time band of Ville Laihiala, who plays guitar here instead of vocals only with Sentenced, comes forth with their second studio album. Their 2003 release, Escapexstacy, was played in the vein of love metal, or dark, gothic, down-tuned hard rock. Although good, I felt it lacked the very elements for which the genre is known: dramatic and passionate highs and lows, drawing off the listener's hidden emotions and creating an environment that is primed to let them flow. The album had some initial appeal, but lacked staying power for me. Thus it received the ole heave-ho from my CD player rather early in it's young life. Although I was disappointed way back then (3 years ago), I was still happy to see the new Poisonblack slide across my desk, and being a fan of Ville, I'm willing to give it a few spins with an open mind. Immediately, I was surprised to hear Ville's voice instead of J.P. Leppaluoto, lead singer of Charon, who sang on the Poisonblack debut. Just as well that the band could not secure him for this album, due to the fact that they have a resident vocalist in Ville. That circumstance turned out to be for the best, as this album is slanted toward straight-forward hard rock, sometimes metal, sometimes gothic, sometimes similar to Sentenced, a sound that I believe is better suited for Ville's voice anyway. You only need to hear the opening tune "Nothing Else Remains," a song that wouldn't feel too out of place on Cold White Light, as proof of my point. Pleasing to the ear, I have to admit, as well as the follow-up "Hollow Be My Name," which directs your attention to different waters, but not completely displaced from the Sentenced boat. "Nail" and "The Darkest Lie" tilt in the gothic direction, as they are slower, and vocally playing like ballads. After many spins, I just cannot connect to their version of goth, prefering the musically upbeat, yet fatalistic lyrics of "Raivotar" over the up and down tempos of "Love Controlled Despair." There is one exception to the rule, the dark ballad "Pain Becomes Me," in which the emotional vocals are arranged very well with the acoustic guitar, piano, and keys.Rating: 7/10 -- It is great to hear Ville's voice again, so soon after Sentenced ended their successful run. Although I am lukewarm about this one, it is better than Escapexstacy in my opinion, and with their attention solely on this band, Ville and crew will continue their quest to find a sound unique to them. That is a journey I will gladly watch them embark on. Music50848@blogcritics.org Thu, 27 Jul 2006 17:32:22 EDT http://blogcritics.org/archives/2006/07/06/014735.php Brian GouldAfter the success of their debut album, Cracked Wide Open And Bruised, I was chomping at the bit for something else, anything to continue the good drunken party vibe of their music. One short year later, I get another slab of good old-time sleaze, easily fitting in with the best of Motley Crue and Hanoi Rocks. Proving that rock 'n' roll is not dead, these Swedes have all the melody, the hooks, and the swagger the greats of the past had. All they had to do is take off where those bands left off and just take command of the stage that was vacated. Unfortunately, the fans of the genre split when grunge hit, a short but highly lethal sound that effectively destroyed a lively, fun crowd that really only needed a fresh kick in the pants. Well, Babylon Bombs have been that kick in the pants for me, rattling my attention back to the good times of the past, where the only thing that mattered was parties, women, booze, and great music that didn't bog you down into a deep message, usually informing you how the world sucks and you should just go ahead and off yourself with a shotgun. You know, as I get older, the less and less I want to be bombarded with politics, and the more I want to associate myself with fun. The world isn't all dark, the illuminati doesn't give a rat's ass about me (I hope), so it's time to let loose, spend the summer having great fun in the sun, and this album is one that can accompany you on your journey.Does this second album rank with their debut? I don't believe it does, but then this isn't an attempted remake; a lot of the glitz that had me comparing them to the New York Dolls, KISS and Ram Jam have been pushed aside for a more straightforward rock approach. Tunes that represent this best are the four that comprise the opening and closing of the album. The lead tracks, "Jaded Heart" and "Louder" come the closest to their previous sound, as well as the only ones with a scent of the '70s left. I do think the remainder tend to be a blend of the '80s hair metal with a more up to date mentality best exemplified by the album finishers "White Trash Beauty" and "Moonshine Beat."RATING - 7/10 - A worthy follow-up to their debut (an album I damn near hung a 10/10 on). Keeping us American fans interested long enough until they can jump on board with a tour that will take them closer to us. I would love to see what they can do in this country, especially in the venues that I am used to seeing shows in. Anyway, get both their albums. Despite the fact that I think this is not their best stuff, it's still cool enough to be a cruisin' soundtrack Music50035@blogcritics.org Thu, 6 Jul 2006 01:47:35 EDT http://blogcritics.org/archives/2006/07/04/121418.php Brian GouldMetalcore is still around, and in tremendously high volume these days. As Blood Runs Black is a post-hardcore band preferring to slant their sound toward melodic death instead of the by-the-numbers metalcore that we hear so much, a genre that has been flooded to the point of overflowing indifference by many old-school listeners. But, as they say, out with the old listeners and in with the new-schoolers who simply cannot get enough of major label and headlining bands such as As I lay Dying, Unearth, God Forbid, and of course, Shadow's Fall. All these bands can be used to describe ABRB's sound, thick with power chords, chugging transitions, and guitar structures that have no problem using higher, more melodic tones that attempt to create a flow to the music, especially through all the hardcore breakdowns. Successful metalcore depends on that, and in this humble metalhead's opinion, ABRB does so, and without the clean vocals!As much I have been one of the indifferent ones, I still flip the discs in and give them a chance to knock me upside the head, which is what happened with this particular release. The inevitable guitar intro, used appropriately in this case, supplies the atmospheric tempo that pays off beautifully with the fantastic opening track, "In Dying Days," surely the tune on which to hang one's hope for pancake sales and tour invites. Played at near-thrash speeds, this is the type of music that induces near-riot activities in the pit, punters gleefully surfing the ebbs and flows of the mighty mass of fellow sweat hogs. The followups do not disappoint. "My Fears Have Become Phobias", and "Hester Prynne" thankfully do not pull a bait and switch by enticing you in with a great tune only to grow a gigantic pussy, and go all emo on you after that -- oh no, these tunes are just as great. The latter probably dives off the stage as my favorite, considering that it's the closest to true melodic death on the album. In fact, the opening trifecta is about as good as this genre gets, and is a powerful and confident way to introduce yourself to the world as well, a theme that is momentarily put on hold with a guitar instrumental that while interesting, serves only as an intermission. A physical break as well as a symbolic break, as the songs tend to wind down, inverts toward ordinary after that, with tempo changes that don't always work, but are full of life nevertheless. The final two tracks, "Beneath The Surface" and "Legends Never Die," cap off the album well, however, putting the finishing touches on a suprisingly interesting band.RATING: 8/10 - Definitely worthy of your money, not only for the disc, but try and get out to see them live, as they are on tour right now. Although I have not seen them in concert, one listen through this album makes it apparent that to fully appreciate the hunger and the energy of this band is to see them in their own habitat. Which is something that is always better than you think, even if you have seen a hundred concerts, nothing beats the rush you feel when the lights go down, the metal musak drifts away and the bands you listened to and heard all about, one by one, hit that stage in a cloud of smoke and thunder. This band appears to be that type of band that is worth the wait. Music49963@blogcritics.org Tue, 4 Jul 2006 12:14:18 EDT http://blogcritics.org/archives/2006/05/19/031853.php Brian GouldFollowing his departure from Finnish legends Sentenced, Taneli Jarva gathered together some old friends and formed a band that would continue the direction that Sentenced had been taking. North From Here and Amok were both solid -- Amok considered the Sentenced classic among some -- they were raw but supremely satisfying Melodic Death 'n' Roll. Sentenced would go on their own successful path of course, with their new gothic, dark metal direction, and a lead singer more suited for its smoother, frostier sound. Initially, The Black League followed that Melodic Death path, with decidedly more Rock than Death, Ichor being the masterpiece while Utopia A.D. seemed to bear the strain of a genre that just didn't have any staying power or avenues of creativity. Their third album, Man's Ruin Revisited, showed that they recognized a change had to be made and they essentially lopped off the Melodic Death portion of their sound and amped up the Rock 'n' Roll portion into a subterfuge of metal that ran off giant biker metal bands like Motorhead, latter day Entombed, AC/DC, and even some Ted Nugent, with his crunchy up-tempo style riffage thrown in to seal the deal. Man's Ruin Revisited was an excellent album, full of really good ideas, and an equally good retro mixture of sounds cleaned up and dragged through new dirt and grease to create a fantastic up-to-date feel.Following up that album shouldn't be as difficult, as this style should not be as restrictive as their previous sound was; Melodic Death does give some leeway but go too far one way you get Thrash, and too far the other way, you get straight up Death or Hardcore. So, like I mentioned earlier, they just cut all that out completely. Now, it is just straight up bar brawlin,' beer chuggin,' skirt chasin,' sex, drugs, and rock 'n' roll. And it is good, really good.Take opener "Same Ol' Fuckery," as an example -- it's a fast paced, quick steppin' heavy blues with excellent guitar work from Maike Valanne and Heavy Hiltunen. In fact, the guitars are the single biggest factor determining whether or not an album in this genre works or not, and subsequently, they are the reason that this album works so well. "Bury Yer Brother" kicks it in a slightly different direction, an AC/DC structure with their style of riff, only they add a little more barroom silt to the swill. Keeping with the swing of the good ole days, an in-your-face smasher "Altamont Man," the most versatile song on the album, sees Jarva inject some well-needed emotion among his well-crafted growl, too much of which can get monotonous when not broken up by a song like this. Vocally tuned down in parts to convey the emotional lyrics while keeping the song's tempo at a crunching pace, this excellent song could very well be my favorite amongst many. Other highlights include "Another Place Called Bad" which really kicks off like a Motorhead speedster, while "Marked Man" comes across like Megadeth if you can believe it. The album only slows down toward the end with "Heroes and Outlaws" and its minute-long vocal intro and melodic chorus. Rating: 8/10 - If you love Jarva's voice, this is an easy 9, but to be honest, his voice grates on me over time. He still has that Death Metal growl in him, a stretch for this genre, but it does work. Other than that minor complaint, the guitar work is excellent, complemented well by the rhythm section. Overall a enjoyable record that is very solid and heavy throughout, worth your time and your dime. Music47975@blogcritics.org Fri, 19 May 2006 03:18:53 EDT