Lizzy Borden - Give 'em the Axe [1984 EP]

Immediately after recording their demo and picking up a deal with the budding Metal Blade Records, the Borden family blitzed the studio to record this scrappy little EP. I always imagine them in full, ludicrous attire, probably falling down drunk, and using that pathetic, little chainsaw from the Menace to Society cover to break off the lock only to find that the door was open all along. Lizzy himself then proceeds to toss out the unfortunate band cowering inside. In this case, it's John Arch and company recording Night on Bröcken, but you know Archie; he typically takes it well, temporarily returns to his work as a lumberjack, and, not being one to waste any storytelling potential, secretly recounts the tale backwards through the course of The Spectre Within. Yeah, it's in there. Trust me. Meanwhile, all the goofing off stops when the 'record' button is pressed...

Okay, so maybe I let my imagination run a bit wild there, but that just about reflects the energy ever apparent in Lizzy Borden recordings. There's a feeling of controlled insanity with these guys in their early output; you know that any minute they could fly off the handle and start burning stuff, and they have the equipment and mental state to do so. However, their unquenchable thirst for destruction isn't so much threatening as it is brought on by their love of fun and partying. This factor would become more evident lyrically on the band's full lengths, but the energy is still present right here on Give 'em the Axe even if their impeccable brand of melodic mastery wasn't quite reined in yet. This follows the path of the demo, featuring the same style of brief tracks with NWOBHM-influenced guitar melodies and Lizzy's always perfect vocal chords. In terms of content, it isn't exactly bursting at the seams, but I was relatively satisfied nonetheless.

The EP begins with the title track, which was destined to become a lead in at concerts with its direct nature and themes involving the band's titular character. The main riff is a bit plain for my tastes, but the song still succeeds thanks to strong performances. Of all their tracks, "Kiss of Death" probably embraces the band's traditional metal influences the most, busting out a riff Iron Maiden could have utilized on Killers. No, it isn't quite as good as the Fates Warning rendition (Archie's revenge!). "No Time to Lose" closes out the original material, which is speedier (and better) than the other songs. The chorus is excellent, easily the catchiest thing here. I've never cared for Lizzy Borden's covers, but "Long Live Rock 'n Roll" entertains thanks to the strength of the source material. I must say that Lizzy's voice doesn't really fit here, though.

Lizzy Borden's non-album releases have never thrilled me (especially the dismal Terror Rising EP), but I'd easily call Give 'em the Axe the best of the few, a worthwhile purchase for NWOBHM loyalists and fanatics of the band's early work as well. It serves more of a purpose as a crucial cog in their natural progression and history than as a highly enjoyable listening experience in my opinion, since this group wouldn't quite arrive until their full length debut, but I can't discredit it for what it was: a nice little taste test for the four course feast to come. It also delivered the first sight of one of the most awesome logos ever forged forth from the lair of self-aware 80s cheese, although (ahem) I prefer its later incarnations of green and yellow or the USA flag's colors. That was the time, though, when the most outlandish victims of style could still possess substance behind them.

   Overall: 7/10 (Good - bullets start to fly)

Blood of Kings [2011 DEMO]

The packaging of the debut demo from Seattle trio Blood of Kings is rather off-putting in the way that it looks like something an alternative group from the 90s might have released. Luckily for us, the old cliche wins out again, as 'don't judge a book by its cover' is quite the moral of the story here. This band is a metallic force, channeling many influences to create a cohesive mix of thrash, speed, and blue collar US power metal. It's grounded in the fundamentals of the aforementioned styles without becoming an anachronism or aspiring to imitate the sound of one particular legend. I hate to milk the old nostalgia cow, but there really aren't enough groups like this anymore, and it's refreshing to know that there's one more band championing the classic heavy metal sound amid a world of numerous European fairy outfits, thrash revivalist clones, and deathcore oven fodder.

At their heart, Blood of Kings thrives with riffs, and there's a hearty feast of them to be had here. The penchant for melody and technical proficiency found in the more traditional guitar parts fondly reminds me of American heavyweights Pharaoh, which can never be a bad thing. However, their hybrid of similar genres more closely resembles the balance struck upon Metal Church's self-titled debut, never quite going with blistering speed while also not settling into the mid-pace. This allows the music and vocals to be versatile and consistently interesting. Extensive stretches of instrumental variation serve to differentiate the song structures, as do a unique duo of vocalists. The more frequent belter bears a gritty but somewhat nasally and high-register voice, while another supplies growled snarls slightly reminiscent of Kreator's Mille Petrozza. All in all, they prove a worthy team, even if I didn't quite find the vocals to live up to the music.

This demo consists of four tracks of considerable length, with each longer than the song before it. They fire right out of the gate with "People of the Light,"  a simple barnstormer that immediately shows the listener what Blood of Kings is all about: furious NWOBHM spirit with just a bit of thrashy vitriol and a flair for rocking fun. "Force Fed" is easily my favorite offering among the contents, once again giving me Pharaoh vibes with a complex opening riff that I'll have a hard time forgetting. The chorus is to die for, slowing down only to pound another gorgeous guitar melody into the depths of your brain. "Heart for the Land" is a galloping and grinding beast that unexpectedly pulls out some Mercyful Fate stylings after its midpoint. Finishing things off is the seven minute "Derailed," which begins simply enough but builds up in speed and intensity as it goes on, becoming a blistering wave of thrash by its sudden conclusion.

If I have one major complaint, it's that after a half dozen listens or so, some of the vocal lines began to grate on my nerves a bit. This is especially prevalent on side B, when the singing becomes less varied. However, this is really only a minimal flaw in the grand scheme of what I'd consider a great release. Blood of Kings have created a (thankfully) well-produced demo which bears mature and compelling songwriting on their first try, one that would best many of the myriad power/thrash metal bands recording their sixth full length as we speak. It succeeds on both a 'work' (serious) and 'play' (party) level, never stroking its own metallic ego or lowering itself to a goofy, banal joke. I'd easily pay full price for a full-length offering of this quality, which the band is apparently working into forging later this year. For now, submit this tape to a deck near you for a killer afternoon.

   Overall: 7.75/10 (Good)

Deathhammer - Onward to the Pits [2012]

My indifference for modern thrash albums with spiffy clean, perfect production jobs is inversely proportional to my love for those records transparently seeking the archaic, occult overtones of the classic 80s sound, which is why I just love it when a band like Deathhammer drops a bomb like Onward to the Pits. This is nothing short of an exceptional recreation of an essence thought to have perished years ago. It's an album that sticks to its influences with uncompromising loyalty without directly copying or plagiarizing from the cherished source material. For the appropriate time allotted, one is submerged into hell and subjected to the punishing power and tormented shrieks therein. Nothing is particularly evolutionary or innovative about it, but it thrives in its unpolished, martial niche.

Without any exaggeration, Onward to the Pits could have dropped in 1986 to zero suspicion in regards to both the production and musical direction. Some may find issue with such a notion, but I could hardly have been more pleased. It's raw, pissed off, and fast, with little deviation wanted or needed. The riffs blaze with a certain rowdiness, going off the rails with unrestrained force and speed. It all comes together like the middle ground between Metallica's debut Kill 'Em All and Kreator's early bestial works. The over the top vocal performance  of Sergeant Salsten reflects the barbaric wrath of the music perfectly. One minute he's growling and shouting in first wave black metal fashion, and the next he's launching into insanely high pitched, ear-splitting cries, a style comparable to the anomalously popular Vektor.

All in all, Deathhammer's latest is a highly enjoyable time capsule for those longing to return to the days of thrash metal's golden age. There simply aren't enough albums of this style being released anymore. If I have one reservation with Onward to the Pits, it's that the consistent level of haste and dynamics doesn't allow for many distinguishable highlights. It all sort of runs--no, blitzes--together as one trampling entity. In any event, this record's strengths greatly outweigh its weaknesses, and it offers no choice but to succumb to its militaristic charms. The most comparable recent release I can think to compare it to is Antichrist's 2011 old school masterpiece Forbidden World, which, in a similar but greater ilk, marched onward to the seventh circle of hell and conquered it with ease. However, with this two piece following Asphyx's album of the same name as the second Deathhammer of worth this year, the pits definitely have a new king.

   Overall: 7.75/10 (Good - pray to your feeble savior)

Unisonic - Unisonic [2012]

The Ignition EP released two months before Unisonic's debut blew me away, evoking melodic perfection while maintaining a decidedly non-heavy sound. The product was sweet and succinct, almost sounding like 80s Helloween boiled down to its most simplistic roots, and it was nearly as enjoyable. I'm satisfied to say that while the personally breathtaking EP might have raised my expectations to a point never reached here, Unisonic mostly delivers with dazzling finesse. This is carefree, hard rock music in its purest form, no shame or embarrassment about it. Sometimes it lingers close to the edge of airhead pop rock, but never does it plummet to the depths of abyssal songwriting stupidity.


My review of Ignition basically summed up the musical direction here, but I'll reiterate and expound upon Unisonic's style with further development. The most important thing to tell yourself before listening to this album is that this isn't Helloween. Yes, it reunites Kai Hansen and Michael Kiske, but Unisonic isn't exactly another Keeper of the Seven Keys. Only trace remains can be found from the glory days of the legendary German power kings, and their connections persist mainly in abstract elements like the sheer energy and jubilant nature of the performances. For the most part, this record is made up of light and generally radio-friendly material, forging its roots firmly in rock rather than engraving itself fully as a power metal entity.


That isn't to say, however, that the songs often suffer for it. The majority of the tunes featured here succeed thanks to capable songwriting and a penchant for having fun; hell, a lot of fun. There are numbers that will be stuck in your head for days (even if we already heard them two months ago). "Never Change Me" features a chorus that would sound appropriate in a Katy Perry song, but I just can't care when it's this catchy. "Never Too Late" and "I've Tried" are a similar pair of stadium stompers, the latter of which bouncing around like a track in a Persona game's soundtrack (which is a very good thing). "Renegade" summons some of power metal glory missing in the rest of the proceedings.

The true showstoppers disappointingly remain those that we already heard on the EP, making that release a little misleading and this one slightly disappointing as a result. Perfect opener "Unisonic," the instant classic "My Sanctuary," and the brilliant "Souls Alive" all dominate the meat of the album, offering more power and memorable hooks than the rest of the songs. This separation in quality is more noticeable as the record goes on, as the second half is a bit lacking in impact compared to the first. Closing ballad "No One Ever Sees Me" isn't the most despicable ballad I've heard this year, but it doesn't leave much of an impression, either. The only track I find myself actively skipping with each playthrough is "Star Rider," which is just about as close as this band comes to recording totally banal, commercial tripe.

Although Unisonic doesn't quite live up to the promise of its debut EP here, and this isn't the ideal comeback one would hope for from the talent involved, I still couldn't help but be entertained for the time allotted. Most of the songs are on and there's fun to be had, so what could be the harm, right? Michael Kiske, while not in prime dog-killing form, delivers the goods like a man of fewer years. As does Kai Hansen on guitar, even if you won't hear any fret-burning solos within the confines of this recording. Due to these reasons, Unisonic is kind of about settling, but luckily for us, it's worth settling for. Just don't expect the unattainable and you'll be good to go.

   Overall: 7.5/10 (Good - living on the edge)

Unisonic - Ignition [2012 EP]

My attachment to golden era Helloween was perhaps one of the single most important developments in my youth as a growing metalhead. From the intro of "Ride the Sky" to the closing notes of "Keeper of the Seven Keys", rarely has a band given me so much joyous mileage as Helloween, and I think it's all right to say that no small amount of sentimental value has come along for the ride. I may not have lived through the tragedy myself, but you could probably predict my horror at the nightmarish descent into the musical abyss Kiske and company decided to take after such a flawless run of albums with travesties like Pink Bubbles Go Ape (sorry, I'll always hate it) and Chameleon. Michael Kiske had a lot of explaining to do, and it appears now that he's trying to make amends--and with Kai Hansen, no less. You can imagine my girlish squeal of joy at the though of such a reunion.

However, from the sound of their debut EP Ignition, Unisonic isn't about to unleash the followup to Keeper of the Seven Keys Pt. 2; and you know what? I'm perfectly okay with that. I came to terms with that the minute I pressed play and heard "Unisonic" for the first time. Suddenly, auditory power erupted, along with the highly hard rock influenced riff, and last but not least, Kiske let it loose over that groovin' verse. And so the chills began to descend my spine. This is what the metal world has been missing for the past two decades. It's an entirely simple track, arguably absentminded even, yet its absorbing power cannot be mistaken. Fuck, it destroys. Even as it treads dangerously close to Pink Cream 69 levels of glam-influenced cheese, "Unisonic" comes off as closer to early era Riot goodness: fun, not afraid to let loose and be casual, but completely serious about what it's doing at the same time. Perfect and infinitely enjoyable rock/metal music.

Carrying along in a similar manner, "My Sanctuary" changes things up a little bit. Slower and slightly more atmospheric than the opening barn-burner, the song mesmerizes with an emotive and unforgettable chorus while never truly approaching ballad status. Kiske is in great form, not really hitting his old high notes but finding a comfortable and ultimately satisfying middle ground. It's really just euphoric hearing his voice attached to a full-time metal (or rock, whatever) project again, giving the already spotless songwriting another touch of reinforcement. Really, this material is all about the great songwriting, reminding me of TNT's late 80s material. Straightforward, but stunningly elegant and catchy to boot. "Souls Alive" carries on in the same manner as its predecessor, and I don't think I'm crazy to believe I hear some Kamelot influence in that balladic section near the end.

The EP is capped off with a filler live version of "I Want Out," an obvious attempt to attach Unisonic to the Helloween name and show that Kiske can still come out and do what he was born to do. His performance here isn't quite perfect, but I'm still rather impressed. To be honest, I am trying to restrain my excitement and joy for this new outfit, but Ignition is making the task hard. I looked and looked, but I can't find one damn flaw (musically) here. The only problem with this release is that it'll be completely useless once the full-length is bestowed upon us, since all these tracks (save for the already useless live song) will be featured on that self-titled album. Therefore, its purchase is impractical and unnecessary (literally the only reason for my somewhat modest score). However, it has made me aware of an album I probably wouldn't have had the slightest expectations for previously. Thanks for ruining the surprise.

If you're expecting Keepers era Helloween, you're going to be sadly disappointed. However, if you're seeking a fun and exuberant time, it almost never gets better than this. We could have an Immortal Soul caliber comeback pretty soon, but I'm going to do myself a favor and try not to think about it too much. Oh, who am I kidding, I'll be counting the days.

   Overall: 7/10 (Cool - must...stifle...excitement...)

Wall of the Eyeless - Through Emptiness [2011 DEMO]

One probably wouldn't guess at the sight of the mind-bending, abstract, and rather awesome cover art that a raw and heavy wall of death metal hid behind it. However, Wall of the Eyeless (kudos on the name) doesn't follow the 90s low-fi tribute wave that so many of these genre bands have been drifting effortlessly upon as of late. Through Emptiness is a fascinating and promising demo that isn't afraid to deliver some surprises and progressive elements; and while its general heaviness isn't to be questioned, this two-piece mixes the style up with free form structures and melodic flourishes.

Through Emptiness moves in mostly mid-paced and sometimes slower speeds, capturing an epic mood appropriate for the music herein. Alongside the more traditional riffs, the songs feature acoustic guitar galore, often focusing on passages of instrumental elegance rather than vocal-driven, pummeling rhythms. Some of the more droning and repetitive guitar parts would give off an essence of black metal if it were not for the deep, bellowing growls of SL, the talented head honcho here who also provides bass and guitar duties. The drums are par for the course: simplistic, but not distractingly so, and effective overall. Nothing here will blow your mind with overt technicality, but the band shows a flair for good songwriting and diverse influences.

With four tracks at twenty-four minutes, Through Emptiness would already make a fully functional EP even in its demonstrative state. I think a cleaner production may suit the lighter parts of this release, but that's not much of a fair criticism considering the fact that this is a demo, and a debut one at that. Personally, seeing a few more hooks and really memorable parts here would have been nice, because even though the group definitely provokes thought while listening, much of this demo will not haunt the memory for long. However, Wall of the Eyeless is still a vision of considerable promise that I'd like to hear more from.

   Overall: 7.25/10 (Cool)

Amalgama - Мечта [2012]

Amalgama is one of those Russian power metal bands that you rarely hear of outside their native country, a type of group that you find incidentally while surfing the net for new music to listen to. Unlike three-fourths of the bands I've discovered in this manner, however, this one is actually good at what they do. This is an upbeat melodic power metal squadron armed to entertain with high-flying, surgical tactics.

What's so special about Amalgama? Technically, not much. They deliver simplistic rhythms and melodious leads typical of other better known genre outfits, with to-the-point songwriting and a penchant for tasty hooks. The difference here, however, is in the execution. There's this whimsical lightheartedness at play here, making the admittedly familiar proceedings much more interesting. Sure, as a result the album never really rivals the intensity or power of a Helloween record, but it keeps the energy level up enough as not to fall into dumb frills, either. The vocals should receive some attention, too; they keep the songs afloat with high register melody, stunningly clean while bearing a harsher edge during the more over the top segments. You almost forget they're in Russian until that one English chorus every Russian band seems inclined to have on its album ("Kings of Sky," ironically the best song on here and a stunningly catchy and energetic number in its own right).

I can't say I liked everything, however. The slower balladic moments on this disc don't work nearly as much as when the band's really rockin' out. Track four is good evidence of that, reminding me of an uninspired and cheesy Scorpions imitation more than anything else. Also, the contents tend to feel a bit bare, especially when considering that few sub-40 minute power metal albums have left much of an impact beyond their heyday in the 80s. In the end, Amalgama does create a fun and convincing enough record to give a spin or two when you're tired of your overbearing, fantasy-drenched "epic" metal tomes.

   Overall: 7.5/10 (Good)

Lost in Thought - Opus Arise [2011]

Lost in Thought is yet another project backed by prestigious producer Jacob Hansen, following in the great tradition of modern progressive juggernauts Anubis Gate and Pagan's Mind. Indeed, the music itself is pretty much an amalgam of every modern progressive metal tendency ever thought of. You've got your high register, hyper-melodic vocalist with a slight accent, an absolutely flawless, crystal clear production, over the top keyboards, and relatively simple songs that often manage to stretch themselves out across 6-7 minute tracks; and it's all delivered with top notch musicianship and an almost overbearing insistence upon achieving complete and utter perfection. Yep, it's another one of those bands, but really, Lost in Thought isn't half bad.

The good news here is that Lost in Thought doesn't strike the listener as the soulless prog machine many of these bands do. Nate Loosemore's smooth voice doesn't take command with a lot of power or character, but it is emotive enough to remember some of the more developed choruses here. That's another positive: repeating parts and songs instead of pointless meanderings. Not every track is perfect, but songs like gracefully forceful "Entity" and the Pyramaze-like "Blood Red Diamond" (sporting the most memorable chorus on the album) certainly leave a good impression. The airy, 'happy' "Seek to Find" is an uplifting number. Unfortunately, the second half can't quite live up to the first. The band's eponymous track shines, however, with the most impressive instrumentation on the record.

I do have to give the band credit for managing to hold back the desire to go all Dream Theater and challenge the limits of what a CD can hold length-wise. Fifty minutes is just the right length for this style, as any more would feel tedious and any less would come off as cheap. Still, I can't say I was fully enthralled for the entire duration. May problem with this release probably lies in the fact that we've all heard this exact song and dance dozens of times before, so nothing here really remains all that surprising or interesting after a couple good listens. However, Opus Arise is still a decent stab at the genre, and its definitely worth a listen or two from progressive metal fans for its highlights. I have a feeling this isn't the last I'll hear from this band, so maybe they'll strike even harder next time.

   Overall: 7/10 (Good)

Iced Earth - Dystopia [2011]

Iced Earth is one of the most frequently detracted bands in all of the metal kingdom, and a brief glance at their recent discography would make it clear as to why. Whether the burden takes the form of reused (and entirely mediocre) riffs, phoned-in vocals, or the lack of quality songwriting, Jon Schaffer always seems content to release any third rate crap he can while maintaining his unchallenged status of ubiquitous derision. As a result, Iced Earth moved to my 'bands to ignore' list for quite some time; however, my interest was renewed with the announcement that former Into Eternity vocalist Stu Block had joined the group's ranks. A frontman with great range and power, Stu was certain to add some needed youth to this moldy outfit. He has, but that isn't all that makes Dystopia a surprise winner.

Those expecting any significant newfound aggression or technicality to be taken from Stu's other band definitely shouldn't. Aside from some occasional growls and background screeches found seldom within, Iced Earth has changed little either musically or vocally. This house is still built upon simplistic, charging rhythms, gritty pipeworks, and hyper-melodic choruses; the simple difference this time is that those elements actually create a good foundation to build up some music of merit -- no stupid, pointless concept in sight and little bewildering patriotism included, I might add. Stu ranges everywhere from Barlow dead ringer to The product gives off a feeling of conciseness this band has long lacked, even if not every moment is a spectacle of originality and greatness. Dystopia does what it does, and it does what it does well. If one accepts this, than the album is quite enjoyable.

Oh, and the majority of the songs totally rock. The title track proves a suitable opener, overcoming its predictably structured form to spellbound with a chorus that should leave any old fan qualmless. "Anthem" takes Jon's standard track two position: a slow, anthemic (duh) tune with balladic tendencies. Still, the superb execution helps this one stand out. The first of two sub three minute songs, "Boiling Point" speeds things up a little bit without taking longer than it needs to. "Anguish of Youth" is probably my favorite here, an admittedly cheesy ballad with equally florid lyrics, but I can't help but love it due to a chorus I could only describe as "catchy as fuck." I've gone full days with these goddamn lines coursing through my mind and moving soundlessly over my lips:

"The tragedy still haunts her
The pain she cannot bear
She wants to laugh
She wants to live
Free from a life of despair"

Seriously, those lyrics are borderline awful and this song still has me singing them. "V" doesn't fare badly, either, its simple victory cry piercing straight into your psyche. "Dark City" enters with an eye-rollingly Iron Maiden worshipping intro, but creeps its way through a fitting atmosphere to claim the crown. "Equilibrium" progresses in a similar way to its predecessors, but the formula stays fresh thanks to its particularly puissant energy. The same cannot be said for "Days of Rage," a workmanlike, heavy-for-heaviness's-sake trial whose short length can't even save it. "End of Innocence" is a nice reprieve from that brainless debauchery, almost (but not quite) topping Symphony X's track of the same name. As usual, Iced Earth rounds it all out with an epic. "Tragedy and Triumph" isn't up to code, however, offering too little musical payoff to make up for its shopworn lyrical themes this time around. It's an overlong, lame closer to an otherwise great album.

Still, Dystopia is finally something to be proud of. There are melodic hooks to be found almost everywhere across this wartorn battlefield, and in the end, Iced Earth win a noticeably decisive battle. Eliminate some of the dumber lyrics and irrelevant "heavier than thou" moments and we could be talking about an even greater beast right now. There are numerous entries in the genre I would place ahead of Dystopia this year, but if you can tear yourself away from Tales of the Sands, Iconoclast, or Heavenly Ecstasy for a few minutes, I think Iced Earth's latest offering is well worth a few listens. It's about damn time.

   Overall: 7.75/10 (Good)

Ghost Brigade - Until Fear No Longer Defines Us [2011]

Ghost Brigade, if three albums can accurately indicate anything, never changes. They represent two opposing angles that I both love and hate about bands or albums. On one hand, you can almost always count on the band to deliver consistently with memorable, well-executed songs, but on the other, they might be too consistent in their use of similar tactics. This displays the same formula used in Guided by Fire and Isolation Songs: doomy, Katatonia-like songs with a never subtle dose of sludge, all well-forged in a smooth, clean sound replete with melody. If you haven't had enough of this formula, Until Fear No Longer Defines Us is well worth a listen.

The album coasts along with Ikonen's soothing mix of solemn cleans and melodic growls, though the pace can get pretty slow. "In the Woods" is surprisingly light for an opener, almost coming off as an intro with it's subtle, snowbound chords. "Clawmaster" is certainly a highlight, building up slowly to its orgasmic chorus. There are also some surprisingly catchy numbers like "Traces of Liberty" and "Divine Act of Lunacy," overcoming the band's explicit gloom with traces of hope. "Grain" is emotional through and through, with evocative lyrics to boot. My ultimate favorite, however, is "Cult of Decay" with that beautiful rhythm that haunts for all the duration. When the refrain comes, fewer things could feel much better.

Though Until Fear No Longer Defines Us never quite lives up to the beauty of its title or serene cover art, its highs are still exquisite. Some of longer tracks (like "Breakwater" or "Soulcarvers") feel a bit stretched, and Ghost Brigade never really aspires to innovation, but for fans of atmospheric sludge/doom, this still manages to be a worthy trek through the tried and true.

   Overall: 7.25/10 (Good)

Omnium Gatherum - New World Shadows [2011]

New World Shadows is one of the most popular metal albums this year, which is somewhat strange considering that the band has back catalogue of similar albums and this isn't exactly doing anything to invigorate the genre of melodic death metal. However, I can really see why people are taking to it so much, as Omnium Gatherum mostly delivers top notch material with this release. It's a super polished experience, but its scope is wide and it has the all-encompassing nature to surpass the "keyboredom" that the genre too often succumbs to. There are lots of keyboards and commercial-sounding melodies, but these usually serve to make the songs a bit more memorable. Nothing on New World Shadows is extraordinary, but with how well-executed the album is, it may be worth seeking out.

That being said, opener "Everfields" is rather brilliant. One of the two nine-minute pieces here, the song thrives mostly on a consuming atmosphere rather than the music itself, though that manages to be catchy as well. The followup "Ego" is more of a "radio" tune though; the chorus degenerates into silly, Bodomish fare. The title track is notable for the chanting clean vocal part at the end and cool keyboard usage. "Soul Journeys" has an entertaining main riff and some interesting mellow parts. "Nova Flame" seems to be a favorite among many, but I'm not sure about this one; it just lays low and never really grabs your attention. "An Infinite Mind" is spectacular on the other hand, with the most memorable chorus on the album, not to mention some of the best riffs. "Watcher of the Skies" is a great instrumental and "The Distance" is a decent track, but "Deep Cold" is an uneventful and anticlimatic closer.

Unfortunately, New World Shadows bears a thrill that wears off all too quickly. After three or four listens, the album becomes difficult to listen to entirely. The music itself is occasionally great, but lacks the staying power of the best releases in the genre. It isn't very original, but for fans of melodeath, it's worth a spin or two.

   Overall: 7/10 (Good)

Fleshgod Apocalypse - Agony [2011]

As many have noted, symphonic death metal is a serious thing now. Yeah, that happened. Septicflesh completely annihilated with The Great Mass this year, as you should already know, but that's not the only band radically orchestrating their music. Fleshgod Apocalypse have translated their technical brutal death metal into a full symphonic opera of rather epic proportions. Just about every second here is accompanied by orchestration of some kind, so if you're averse to that kind of stuff in your music, you might as well stop reading and forget about this one. I think the main thing people were wondering about Agony was whether it would suffer riff-wise because of all the extra keyboard baggage. I'm only slightly familiar with Fleshgod's past work, and the answer isn't so simple, though I can definitely tell you they've simplified (and muted) the guitar parts considerably.

The success of Agony varies somewhat track for track, but if asked me if it was a good album, I'd concede that yes, it generally is. The songs that work the best and are most memorable usually play out in about the same fashion (see "The Hypocrisy," "The Deceit," "The Violation," and "The Oppression"): first you have an extremely fast verse with simple riffs, and then the song slows down a little for the chorus when some of the most painfully sung, strained yet high-pitched vocals you've ever heard come in. They're a huge acquired taste, but those cleans are certainly my favorite thing about this release. Now, the songs that divert from this predictable but still entertaining route can be hit or miss. "The Imposition" and "The Betrayal" pass by with little notice, two songs that never distinguish themselves from the rest of the surgical onslaught.

When the band actually slows down long enough to show you they can write a great death metal song, however, they really stun. "The Forsaking" is a well spun tale of surprisingly delayed gratification, and features some of the best orchestral use on the album. "The Egoist" is my hands down favorite, a mystical ride of wonder with some memorable keys to spare. Of the super speedy ones, I favor "The Violation," which was the video song for a reason, really being the only track to actually add catchiness with the symphony. The closing title-track outro ain't too shabby either. Many fans will miss the jaw-dropping technicality of Oracles and loathe the full orchestra assault of Agony, but little of Fleshgod Apocalypse's methods or set-to-kill mentality has changed. Sometimes I find myself drifting away during the fast, over the top parts waiting for the relief of melody to finally come, but for what this band does, Agony is a minor success.

   Overall: 7/10 (Good)

Havok - Time Is Up [2011]

Havok is riding high in the new wave of thrash metal, and their latest album Time Is Up has recieved quite a bit of attention. Essentially coming from the much maligned "no innovation necessary, just asskicking" classic thrash genre, it features all the components of the 80's thrash giants, only slightly modified with modern production. Bands like Havok obviously don't focus on originality, but when the output is this strong, that isn't much of an issue. Apart from a couple fillers and the qualms I have with modern thrash, Time Is Up is a non stop display of strong riffs, memorable choruses, and some fun lyrics, too.

If Bonded by Blood came out in 2011, this is essentially what it would sound like. Of course, this is dropping the charming raw production necessary and a couple of killer tracks Havok just aren't capable of, so no, I'm not calling it an equal album. I mean only to say that this is pretty much the 1985 Exodus style verbatim: a focus on slower, melodic riffing rather than speedy savagery, a similar style of angered snarling, and even a knack for going for the catchy chorus all make this very comparable. It doesn't match up track for track, though. "The Cleric" and "Out of My Way" are clearly fillers only here to run the playing time up a bit. Any thrash fan would want to hear the highlights, though. "Killing Tendencies" and "Scumbag in Disguise" take no prisoners, but my ultimate favorite is "Fatal Intervention," a badass number with one the best choruses I've ever heard in thrash metal. It all strongly reminds me of the glory of "A Lesson in Violence":

"This is fatal intervention
Violence rages throughout
Thrashing with the intention
Of never letting it stop"

Lyrically, the album isn't exactly breaking philosophical boundaries, but that just goes along with the 80's motif. It has to be about "thrashing," being awesome, and chanting generic cool-sounding phrases or it doesn't truly capture the essence of what it used to be all about. I understand the arguments that these retro bands are a complete waste of space and that they bring nothing new to the table, I really do; but let's face it, the genre started repeating itself a long time ago, and I'd rather hear these fresh bands having fun than the same old ones crashing and burning with each subsequent release. If you can manage to look past these preconceptions you may just find a nice release to fill out your thrash library.

   Overall: 7.5/10 (Good - and then you die!)

X Japan - Symphonic Silent Jealousy [1992]

First of all, the title of this release is prone to cause confusion: the album from which this material comes from is titled Jealousy, yet it's title sans the "Symphonic" is Silent Jealousy, which was a song on the aforementioned Jealousy album. Bleh, wrap your head around that. Anyhow, on with the review. I sort of expected the charm to wear off after already hearing Symphonic Blue Blood, but I may actually like this rendition more. For people not familiar with that release let me give you a recap. This is a full orchestra version of most songs from Jealousy in a seemingly random order. It's masterfully performed and written, portraying the material in ways you wouldn't expect. It is neither an exact emulation nor a liberal reworking.

The material here is all really great, and there are no unnecessary repeats like "Eternal Rain" in Symphonic Blue Blood. "Say Anything" is as all-encompassing and emotionally versatile as I've ever heard instrumental music. If I made a movie, this song would be playing over the final credits. Two of the brief instrumental pieces ("White Wind from Mr. Martin" and "Es Dur No Piano-sen") and from Jealousy have been expanded into full-fledged five minute songs, which seems questionable, but they actually became a couple of the best songs on the CD. "Joker" is so faithful to the original, it's dirty glam undertones actually sound amusing in an orchestral setting. "Stab Me in the Back" is as chaotic as before, but in a more subtle way. There's a feeling that something could strike at any moment. It all ends with the epic closer "Silent Jealousy," a ten minute finale that covers all necessary ground.

The song not included? "Desperate Angel" was mercifully left out of the fold, but so was "Voiceless Sreaming." C'mon, guys! I could understand the "Week End" situation because of the wide expanse of material available to cover, but this is ridiculous. Okay, so maybe it's not that bad and I'm just getting nitpicky. This really is another dazzling display of orchestral music that could live on its own without the X Japan name. I'm not sure the word "kickass" applies here, but I'm using it anyway; this is a kickass album that's pretty much just as good as the source material, if not technically better. Once again, it's only for a few select groups of music fans (instrumental/orchestra/X Japan), but its truly pro execution should go a long way. I wish more bands had stuff like this.

   Overall: 7.5/10 (Cool, But Be Wary)

X Japan - Jealousy [1991]

Jealousy is a somewhat bewildering album. Like its predecessor, Blue Blood, it lies just below the next level of greatness. Being that so much of it is vintage X Japan, it should be a classic of the highest order. Unfortunately, even though it's still a really good release, that's just not the case. I think that has most to do with the intangiables and not the actual material. The album lacks (for the most part) the energy and intensity of its predecessors. I can take things a shade lighter, but that's not really the issue here; it's more of a feeling the band gives off. Every time you think Jealousy is getting on a hot streak, a sour part takes you right out of it. The song "Desperate Angel" certainly doesn't help, either. It's a pathetic glam song that reeks of American money-grubbing, and the only X Japan song I'd dare call bad. Just press skip.

Don't dwell on it, though; the rest of this release is crawling with great tracks. After a cool piano intro, "Silent Jealousy" rocks on with a trademark X opener: speed, a soaring vocal performance from Toshi, and a surgically striking rhythm. Next we get one of the best heavy songs the band has ever done: "Miscast." It's a simple stereo rocker set on destroying everything; and I know I always make a generic comment about how great their choruses are, but words truly can't describe them. What follows up these two brilliant tracks? That abysmal one we discussed earlier. Just take the advice I gave at the end of the previous paragraph. "White Wind from Mr. Martin" follows, which is basically a filler acoustic instrumental. At least it isn't too long.

Now we arrive at the heart of the matter. "Voiceless Screams" is the first of two masterful ballads included on this release. It's strange how all of X Japan's ballads share close similarities but each one ends up sounding so fresh and enjoyable. They don't get old, and I'd swear they have an endless supply of these things. All of a sudden, "Stab Me in the Back" takes a turn for the heavy. The thrashiest song X Japan has ever written, it's also just a fun romp. "Love Replica" is like "Give Me the Pleasure" from Vanishing Vision; a zany instrumental with some spoken word samples underneath. It's an aquired taste, that's for sure, but I like it nonetheless. "Joker" is sort of a lesser track, relying too much on its glam sensibilities. Some quality hooks make it decent overall, though, and it never approaches being bad. X Japan saved the best for last, however. "Say Anything" (great movie, by the way) is a ballad made beautiful by its moving orchestration. This could have been on Dahlia.

The production values have taken a drastic leap forward. There's nothing raw or dry about X Japan's sound here, improving Jealousy's ease of use. I've certainly heard far worse efforts from 80's bands moving into the bleak musical landscape of the nineties (Crimson Glory's Strange and Beautiful from the same year, for example). Jealousy never really disappoints; it just regresses on a small scale. It's a testament to how stellar your band's discography must be when this is your worst album. My recommendation for Blue Blood still applies: fans of any style of 80's metal can find something to like here, even though it's their least consistent effort. Just chalk it up as a closer victory than we might have liked; it's no blowout, but a win is a win.

   Overall: 7.25/10 (Good)

X Japan - Symphonic Blue Blood [1991]

X Japan released this rarity in succession with their third full-length, Jealousy. For the time, it was rather unheard of for metal bands to produce orchestral instrumental albums such as this, so consider it an innovation. Symphonic Blue Blood is exactly what you think it is: several selections from X Japan's 1989 sophomore release given the full orchestra treatment. What you might not expect is how amazingly it all comes together. This is a painstakingly performed symphony of beautiful stature. It's not a simply a carbon copy of the source material, as several parts have been refined, added, or cut entirely, but it is also a not a great departure from the music the band itself wrote. Therefore, there are enough similarities to connect to and enough new things to notice. I honestly wasn't bored once while listening to it.

Some of these versions best their official counterparts. "Rose of Pain," the opener this time around, shows the most improvement. It's been cut from eleven minutes down to nine, a wise move the band should have taken in the first place. There's this feeling of massive scale the entire time, drawing you into it's epic passages that both haunt and excite for the full duration. The verses of "Eternal Rain No. 1" are strangely ominous, but the chorus is so well-executed, who could care? "Eternal Rain No. 2" plays it closer to the original mood of the song. I'm not sure how, but they made some of the heaviest outings (such as "Orgasm" and "X") sound like the ideal companions to a romantic film. That may seem like an insult to some fans, but I can't get over how great it sounds. Then there's some tracks like "Easy Fight Rambling" where you'd have no idea it came from an X Japan song unless you'd just heard it. "Kurenai" is barely recognisable beyond that familiar rhythm. "Unfinished" is given its third different incarnation here, and the tune still doesn't sound used up. Of all of them, "Blue Blood" is most reminiscent of it's source song.

If I have one disappointment about Symphonic Blue Blood, it's the snubbing of "Week End," my favorite song from the original album; but considering the quality of the material given and the other great choices, that doesn't seem like too big of a deal. I guaruntee that you could let someone listen to this who has never heard X Japan and they would reasonably believe this is an original piece of classical music, or at least a modern movie soundtrack. Obviously, you must understand what it is to properly enjoy it. This is strictly for (open-minded) fans of X Japan, fans of orchestral/classical compositions, and lovers of instrumental music. No one else would get it. I belong only to the first camp and was surprised by how much I got out of it. This is truly worthy of the X Japan brand.

   Overall: 7.5/10 (Cool, But Be Wary)
 

X Japan - Blue Blood [1989]

Just a year after the full-on speed onslaught of Vanishing Vision, X Japan released Blue Blood, their breakthrough album. FInally signed by a major label and recieving mainstream success, X Japan were focused to make an album that lived up to their debut while avoiding the all-too-often occuring "signing slump;" and for the most part, they triumphantly succeed. Blue Blood is the band's first attempt at creating an amalgam of styles, and although it's not their best, there are certainly far more hits than misses. We get the speed style portrayed on Vanishing Vision, some glorious ballads, progressive epics, and even a couple top-notch glam tunes (yes, you heard me right.) Basically, if you like 80's metal of any sort, there's something here for you.

First of all, production values have immensely changed. Gone is the raw, noisy tin of the debut, replaced by a clearer dry sound. I can't say this is much of an improvement, however; it makes the heavier songs sound a bit too forceless, and it certainly doesn't do any favors for the vocals. Toshi sounds a bit more strained here. I think it's because he's still trying to do the Kai Hansen-esque vocal style of the original (which worked for that album's style and production) when he should be opting for something a little cleaner. Hide's virtuoso playing seems to have been back, as well. All in all, neither matter too much. One thing that's unrestrained is the insane bass playing; Taiji's off the wall, technical insanity remains unhampered.

There are too many songs to cover them all, so I'm ony covering highlights. That's another thing: the 65 minute runtime will either excite you or test your patience. Probably the most significant factor of Blue Blood is that we get X Japan's first true ballads. "Endless Rain" is a superb act of beauty that showcases Toshi's finest singing of the album and another brilliant, emotional chorus. Finally we get some hints of the majesty to come on Dahlia. A reworking (or rather, lengthening) of Vanishing Love's "Unfinished." This is another highlight, complete with really catchy lyrics. It's just a great way to conclude the album.

"Oh! I'm looking at you
Can't control myself
Nothing, but pain for me
Wipe your tears from your eyes
Just leave and forget me
No need to be hurt anymore"

On the heavier front, we get a few excellent songs. The title track is a speed metal romp that blows the doors wide open, and Hide's charging rythms lead the way. "Orgasm" is short but sweet, representing both the album's heaviest and most energetic display. This is the piece most similar to Vanishing Vision, which makes sense considering that the song had been in the band's back catalogue since at least the mid 80's. "Rose of Pain" is an eleven minute epic that switches from lighter elements to a thundering power anthem. It fails to hold my intersest all the way through, leading me to believe it could have been cut by at least 2-3 minutes. "X" is a kickass song, and "Xclamation" has an atmosphere full of wonder. Thankfully the glam elements are held to a minimum, which makes them not only bearable, but enjoyable, too. "Easy Fight Rambling" is the best of these songs, leaving just enough of that distinctive X flavor in for our pleasure. Interestingly enough, my favorite on ther album is a track that mixes both the heavy and commercial aspects of the band: "Week End," an opus of great rhythms and, of course, another astounding chorus that'll find a home in your head for days.

There's certainly a lot of charm to X Japan's sound, and the most diverse panorama of that charm can be found in Blue Blood. I'd recommend the most first timers to either this release or Vanishing Vision, as they are more accessable to metal fans than the albums to come. It's neither their best or their most consistent, but if you've yet to start, you should probably start fom here. As always, it's highly recommended to fans of X Japan. This band really never does wrong. Even Jealousy has strong merits, despite taking a few ideas found here a bit too far; the party ain't over yet.

   Overall: 8.25/10 (Great)

Harlet - 25 Gets a Ride [1988]

With a cover like that, with a band name like Harlet, and an album title like 25 Gets a Ride, one might expect a product that sounds like the work of a horrible, sleazy glam metal reject that came too late in the game; however, that's not really what we get here. Sure, there's some glam leanings in the forgettable lyrics (apart from "Faintly Living") and a mild commercial touch, but Harlet sounds more like a cross between early Fates Warning, Queensryche, and Lizzy Borden. It doesn't rise to the level of those US power metal giants, of course, but 25 Gets a Ride does provide a solid entry of quality melodic metal in the one of the best years there ever was for it.

The sound is immediately recognizable as US power; you've get your typically polished production, simple but effective riffing, and last but certainly not least, ridiculously high register vocals. This is the component that was most enjoyable for myself personally, but it might be quite a detractor for some. All I can say is, if you like Geoff Tate or Lizzy Borden, you surely won't be disappointed. He might've restrained himself a bit more in some areas, but overall, I just can't say no to those piercing high notes. The other members do a decent, but never mesmerizing job. The songwriting is also mostly good; occasionally, there will be a song or chorus that just isn't catchy enough, but for the most part, they do the trick. The most well-rounded track here is undoutedly "Lit and Burning" with its awesome lead riff and truly memorable chorus. Other highlights include "Bought 'n' Paid For" and "Take Your Chances" for their slightly progressive leanings.

Harlet came and went with very little (I'd dare say none at all) notice in the 80's and quickly faded into legend, which is kind of a shame considering the promise shown by this capable sole release. They pretty much had all the necessary factors to compete with the more popular giants of the genre, and I sure would have liked to see what might have come next. The production is stunningly clear for such an underground release, and this is insanely underground. I'd say that even most of the craziest powerheads haven't even heard of it. 25 Gets a Ride may not touch the many masterful releases of 1988 (Operation: Mindcrime, Transcendence), but any fans of said albums could do much worse than to acquire it.

Overall: 7.25/10 (Good)

Artillery - My Blood [2011]

Time has come again. My Blood continues on the promise of When Death Comes, not taking any chances, but also not taking any risks, a quality about it that eventually detracts from the overall product. It's a stunted evolution. Artillery's philosophy seems to be, "why mess with perfection?" And really, who could blame them when they consistently have so much success? I just think they could give a little more. This should make the truth pretty clear: if you didn't like or just weren't satisfied with Artillery's 2009 comeback, My Blood will do nothing to change your mind. The only differences are minute and few and far between. This is the same middle eastern influenced riff monster that was and has been so technical and so outstanding for so long. (If you've forgotten my "formula of a general Artillery riff," refer to my When Death Comes review. In short: 110% of insane, technical thrash badassery). For those who did enjoy the last release, you're in for a hell of a ride. The question is, have they taken it too far?

As always, the performances are ridiculously pristine. The Stützer brothers must have discovered the formula for the eternal flame, because they never cease to scorch all over every moment with furious, inventive riffing. The two keys to their success are: 1) sheer technicality and 2) unprecedented heaviness. When the guitarwork isn't insane, it's melodic and powerful all the same. As such, Artillery is never too heavy to be catchy, and never too catchy to be heavy. Adamsen is completely at home with his role in the band, putting on a vocal performance that never lacks power. Screaming, chanting, and rhythmically howling when need be, Adamsen sounds convincing even while singing sometimes admittedly juvenile lyrics (brought to a new low with the cliched "Thrasher"). They don't really detract frohm the album, though, as one comes to expect such lyrical themes in classic thrash such as this.

Things kick off with "Mi Sangre" (get it?). Artillery's longest song ever, it clocks in at about seven and a half minutes and takes the band's Egyptian vibe to a whole new level. This is probably the highlight of the album, infused with ignited leads, expectedly catchy components, and plenty o' riffs to die for. Speaking of riffs to die for, one doesn't to look too far ahead to find them in lavish abundance. "Monster" is clinic from start to finish, easily one of the bands heaviest rampages yet, even if the chorus isn't very inventive. "Death is an Illusion" adds some melodic flair with its almost power metal chorus. "Ain't Giving In," a track way back from the coveted Mind Factory demo, is a power ballad from hell, delivering simple but effective lyrics and a new set of parts that cannot be removed from memory. "Warrior Blood" is a searing battle anthem with lethal riffs and a vocal performance that shows Adamsen means business. "Concealed in the Dark" powers back with a sinister mid-paced chorus.

The biggest problem with My Blood is its refusal to progress past the style previously used so many times before. Unfortunately, a distinct formula is showing through, and the album grows tiring all too soon. However, I still enjoyed it for all its worth, and it should be a safe bet for any Artillery fan or any fan of melodic thrash metal. Hopefully we'll be in for a revolution next time. Oh, and the bonus track remakes from Fear of Tommorow on the digipak edition kill.

  
   Overall: 7.25/10 (Good)

Suidakra - Book of Dowth [2011]

I often don't care to involve myself with bands that possess a mountain of releases so abruptly in the discography, but hearing of the supposed glory of Suidakra's newest release, I figured it was worth checking out. From what I can tell, Suidakra comes from a long line of bands that attempt to pack numerous styles into one homogeneous sound; and luckily, just as comparable bands like Enslaved and Agalloch have as of late, they triumphantly succeed here. Book of Dowth finds a compelling balance between crushing heaviness, medieval narrative, and artsy folk. The genre is arguable, to say the least. Is it medieval power metal? Black? Death? Folk? The debate could go on forever. I'll just refer to it as what it is: good music.

There's an underlying concept to the whole project, a factor that nearly always enhances an album's entertainment level. It's about stuff like "stones of power," "magical books," and "evil warlords," which could easily take away from the release if they weren't executed so well. The lyrics are eloquently written for the most part, never pushing the pretentious envelope or taking a path too cheesy. Still, those alone aren't the biggest part of Book of Dowth's success. The music overcomes the story and fits all the carefully crafted pieces into one shaplely, concise puzzle. Even though there's a sense of variety and a tendency to catch one off guard, nothing ever feels out of place or distracting. A perfect example of this was my initial listening of the album. After the first two similar songs, I suspected a no surprises, typical affair of heavy epic metal, but no! "Biróg's Oath" completely eradicated this conjecture with a catchy anthem complemented by female vocals and folksy acoustics.

Next, "Mag Mell" totally slayed by offering up a light-hearted rendition of power metal, utilizing yet another vocal style with a voice that could be compared to Hansi Kürsch. Then, without missing a beat, the album effortlessly returns to the heavier style it stormed in with. Although the tactic is risky, Suidakra reaps the rewards; I didn't find myself distracted or bothered by any of the album's elements for the full duration (a scant forty minutes for some, a full release for me). With my personal preferences, of course, I tend to favor the tracks with a heavier gratuity of clean vocals and catchiness. "Stone of the Seven Suns" fits that description perfectly with its awesome chorus, easily my favorite of the release. I don't mean to imply that the heavier songs are without merit, either. I particularly favor opener "Dowth 2059" and closer "Fury Fomoraigh" for their take-charge attitude. The album also begins and ends with short instrumental pieces to add to the atmosphere.

Against all odds, I enjoyed Suidakra's latest effort quite a bit. Some possible turn offs for listeners could be the lyrical content, the fact that the style changes with each song, and the mixture of only slightly similar vocal styles, but none of these possible detractors bothered me too much. In fact, when it comes to releases such as this, I tend to want those varieties. Book of Dowth sorta falls out of my realm, but even though it isn't exactly my cup of tea and I probably won't be rushing to listen to it all the time, there's a quality here that cannot be denied. The music is simple. It's probably nothing you haven't heard before, but that's not the point; you just rarely hear it done this well.

   Overall: 7.5/10 (Good)