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While the faithful continue to hold a vigil for any signs of another Vision Of Disorder reunion, bloodsimple. continue to march on to their own beat. As was learned with the formers "From Bliss To Devastation", frontman Tim Williams and guitarist Mike Kennedy enjoy taking risks and "Red Harvest" is no exception. Name another modern metal band ballsy enough to start an album off with a repurposing of lyrics from The Doors' "The End" or title a serious track "Dark Helmet".
Still, the continual evolution of the bands direction isn't so much the strongest point of this album as is the familiarity the group now seem to have with each other. Where their debut "A Cruel World" often felt like the band weren't entirely on the same page, much of "Red Harvest" sees the band reading along in unison. Shouting along the loudest is of course is Williams whose continual aggression and surly reflection pack as much visceral intensity as they do years of damage.
The rest of the band follow his cue with fairly large riffs and steady modern metal lurches. An abundance of heaviness is offered as the group rip and tear through a number of the tracks included in stylistic fashion, even though there's a certain lack of danger to some of the tracks (see ballads.) As destructive as the music is though, there seems to be a habitual tendency to segue into a bruising chorus or some spoken word that packs an all too similar flavor from track to track.
While this does help to accentuate Williams' blunt force vocals and is a welcome change of pace from the 'core' fundamentals that have taken precedence for nearly everyone else; it also often sees the band fall somewhere in-between the radio safety of Disturbed and the slick motor revving of Devildriver. It's not the fault of the bands conviction though, as the material does have a raw edge to it. It's just that after they put the same sickle to use over and over again it all becomes a bit dull, though it sure does yield a surprisingly diverse harvest.
01. Ride With Me
02. Red Harvest
03. Dark Helmet
04. Dead Man Walking
05. Out To Get You
06. Suck It Up
07. Death From Above
08. Whiskey Bent And Hellbound (Hellmyr)
09. Killing Time
10. Truth (Thicker Than Water)
11. Numina Infuscata
It's getting to the point now where having Terror's name on the cover of an album is pretty much all that needs to be said. Much like Hatebreed, Terror has capitalized on the metalcore market with fiery riff-laden performances mixed with the traditionalist-oriented posi/vengeance lyrical angle. Not surprisingly, having parted ways with a member and their label Trustkill since their last effort has made little difference in this regard.
Straight forward in-your-face performances full of sweat and hostility, sharp riffs, breakdowns and gang shouts are this groups gameplan and very few deviations from this template are taken. The thing is, while the band are quite good at what they do, the listenability of steakhead and potatoes metalcore has been exhausted due to too many participants in the mosh pit marathon. In turn, even after multiple listens it's hard to pick out a single track from this effort that actually stands out or remains memorable.
Sure it's a cathartic listen and will easily incite a mosh pit or a random headbang here and there. But as appealing as the energy and grit here are, the substance is worn and lacking. Sure it exemplifies Terror's somewhat limited identity, but what it doesn't do is further it and that is something the band should be looking at this point in their career (no some spoken word and looming basslines aren't enough.) Playing it this scene is playing it safe and while tough guy fans, dudes in bandanas and those who wear hats with the cocked up brim will be all over this.
(4/ 5)
01. Voice Of The Damned
02. Relentless Through And Through
03. Betrayer
04. Rise Of The Poisoned Youth
05. Never Alone
06. What I Despise
07. Let Me Sink
08. Feel The Pain
09. Lost Our Minds
10. March To Redemption
11. Crush What's Weak
12. Still Believe?
13. Suffer, To Return Harder
Long considered titans of the metalcore genre, Unearth have readily made a number of mosh pit battle anthems in the past that have cemented them as a scene fixture. It's become apparent however with recent albums that the group have aspirations to move in a more traditional metal direction and with "The March", they have officially embarked on their journey. Packing a beefed up technical repertoire and more dimensions to their songwriting as supplies, they make considerable headway by the time this outing concludes.
Still, that's not to say they were fully prepared for what they have undertaken here though. For every ripping metallic flourish there is still a familiar chugga breakdown and sans perhaps the Cave In-like harmonic manipulation on "Letting Go", little here is entirely out of the bands element. But with a focus cast on stronger songwriting, less metalcore conventions and a lot more guitar heroics, this is a well-executed transition and much needed directional shift for the band.
Unfortunately though, that in itself is also one of this album's biggest pitfalls. The group are clearly expanding and experimenting, but none of what they offer necessarily shocks or inspires. Instead the improvement feels more gradual and is often curtailed by a lot of the songs sounding similar as a whole, lacking in any stark dynamic contrast.
Don't be fooled though, much with any grueling exercise in experimentation and growth, there is much to be gained here and Unearth's thunderously staccato grooves remain empowering and cathartic. In fact, few bands can command such an equally bludgeoning and lacerating performance in the same breath. It's just that "The March" is sometimes a step ahead and at others a step behind.
01. My Will Be Done
02. Hail The Shrine
03. Crow Killer
04. Grave Of Opportunity
05. We Are Not Anonymous
06. The March
07. Cutman
08. The Chosen
09. Letting Go
10. Truth Or Consequence
"Confess", the latest effort by Iowan outfit Too Pure To Die, is a lot like making a cocktail from some of modern metal(core)'s strongest ingredients. You've got the Southern Pantera-aping ala Throwdown, the Sunset Strip inspired sleaze of Avenged Sevenfold and the blunt in your face song structuring and lyrical tenacity of Terror and Hatebreed.
Suffice it to say, identity is not one of Too Pure To Die's strong suits. But if thick layers of production gloss, the occasional nu-metal riff and moderately cliche electronic ambiance don't deter you; you'll find that despite the homogenized nature of this release, it's really not all that bad. While an album like this may tend to underachieve in terms of creativity and hunger, it does capture the same aggressive energy and breakneck momentum that launched a thousand walls of death (and even a few thousand more shitty haircuts.)
If you're able to put originality aside and want to get your mosh on without afterthought, then look no further. "Confess" packs as many of metalcore's hallmarks as it does it's cliches and for what it does wrong, it does just as much right. Basically, for as diluted (*cough*) as Too Pure To Die's mixture of metal and metalcore's finest points may be, it still delivers quite a kick - just don't expect to be knocked on your ass by it.
01. Confess
02. My Vow
03. Gotham City
04. Can I Live
05. Saving Grace
06. One True Thing
07. Define Irony
08. Rock Bottom
09. Omerta
10. Trial
11. Find My Way
Like it or not Slipknot are about as close to Kiss as modern metal can get. Consistently successful, a spectacle in appearance and flush with conflict, both bands have continually remained in the spotlight throughout various musical phases. However, much like Kiss, the mystery that once surrounded Slipknot has been entirely diminished after years of side projects, interviews and live shows. What this has left the groups highly-devoted fan base to focus upon is the music and with "All Hope Is Gone", these nine Iowans seem highly aware of this.
"All Hope Is Gone" continues with the bands ever-evolving lust for genre experimentation and in turn creates perhaps the most dense and disjointed listen in their discography. While the input of nine members is obviously a factor, the melting pot here isn't so much of a pot, but a cauldron that is repeatedly boiling over from an excess of ideas. Sure it's easy to appreciate that despite having built a successful following, the group continually try to push themselves in new directions.
The problem with this arrives when certain songs feel like little more than a haphazard collection of riffs and dynamically averse melodies and aggressive blasts. While songs like "Psychosocial" succeed by cementing themselves around a stomping riff and rhythm section, others flounder in a collective mish-mash where momentum is never able to be gained as the group seem far too hyperactive to focus for longer than a verse.
As a whole "All Hope Is Gone" seems to take inspiration from not only the bands back catalogue; but a number of their favorite artists and the diversity of that is readily apparent in a number of the songs. Take "Gehenna" for instance, a track which straddles Alice In Chains-like grunge with Josh Homme-reminiscent falsettos. As much as it stands out from the rest of the album, it works thanks to its grounded approach.
It is the lack of this above-mentioned cohesion elsewhere that sees other tracks attempt similarly bold mixtures of ideas and fall apart at the seams. The odd thing is that even with a few shaky results, the band never fully crater - though they do come dangerously close. The problem for most though will be that Slipknot are a band who are at their prime when they are at their heaviest.
And heaviness isn't the driving component of this album, rather it is a vague backbone for the band to unleash a flood of ideas off of. The revisiting of their discography on various songs is a nice touch that will surely give a maggot or two an sly grin. But with plenty of cheesy moments, haphazard part changes and a few plain boring song ideas, "All Hope Is Gone" falls considerably short of being a metal masterpiece. But that's alright, because masterpieces probably don't mean nothing to the Clown anyway.
01. .execute.
02. Gematria
03. Sulfur
04. Psychosocial
05. Dead Memories
06. Vendetta
07. Butcher's Hook
08. Gehenna
09. This Cold Black
10. Wherein Lies Continue
11. Snuff
12. All Hope Is Gone
Without a doubt Meshuggah remain titans of the intensely precise area of so-called mathematical metal they have helped to create and champion. However, while not outright bad, some of their recent output has been a bit rocky. Tempos were slowed, ideas were repeated and at one point programmed drums were even enlisted. Given these factors there has been some unrest among the Meshuggah faithful and "obZen" can be viewed as a make or break affair for continued devotion.
Thankfully, much like Neurosis's recent change of heart, "obZen" finds Meshuggah embracing the attitude of their destructive earlier efforts. Instead of relying on bowel-rumbling tuning and drawn out turbulence, the band are back to cunning technical ability and ballistic aggression. Nearly each track included on this effort is guaranteed to sonically atomize the listener. Lyrical themes seem intent to speak out on humankind and its current effect on the earth while avoids the expected air of peachiness and hopefulness in favor of malicious contempt.
Lyrical condemnations aside though, the blistering pace of the songs featured here almost gives them a near hooky nature - a welcome change given the bands somewhat stilted approach as of late. It's not all full throttle though, there are still elements of experimentation as a harmony or an ethereal guitar note can ring out over a thunderous rhythm section. The thing that holds this disc back though is not their renewed sense of hostility, but rather their tendency to retread their own unique sound.
While the group push their technical ability to new extremes, they fall short at creatively elevating themselves past what they've already achieved. In turn, while "obZen" is easily the best Meshuggah album since their landmark releases, it may also hastily be written off as another Meshuggah album by those already burnout on the bands well-exposed characteristics. Regardless, "obZen" is a remarkable return to form and a standout in the bands discography hindered only by its relative lack of adventurousness.
01. Combustion
02. Electric Red
03. Bleed
04. Lethargica
05. Obzen
06. This Spiteful Snake
07. Pineal Gland Optics
08. Pravus
09. Dancers To A Discordant System
There is a considerable element of prophetic irony of a band titling their album "Oblivion Beckons" and disbanding just as it's released, but sometimes that's just the way things go. Regardless, Byzantine's now final tome possesses the bands fiercest thrash attack, along with some rather engaging technicality and brawn. However, it'd be hard to brand Byzantine as part of the new thrash movement as the bands propulsive grooves and virtuosity suggest Pantera more than Metallica.
Light elements of prog help the effort to maintain a convincing amount of diversity, as do the ever-hungry riffs that continually encircle the listener like a shark does its prey. But while this is instrumentally Byzantine's strongest offering to date, it still suffers from the bands inherent sticking points. The most damning of which are the times where gruff melodic vocals are attempted and generally offer painfully forced results.
On the other hand, the soaring clean vocal melodies that thankfully have more prevalence do seem better suited to the bands requisite chorus harmonies. To be sure this isn't metalcore/thrash revivalist drudgery, in fact this is probably Byzantine's most galvanized effort to date and a fitting end for them as they can walk away proudly. But for metal fans as a whole there's an element here that will be missing as the band repeatedly challenge the listener yet never deliver on the full promise of each song, instead getting bogged down or lost in the process.
01. Absolute Horizon
02. Nadir
03. Oblivion Beckons
04. The Gift Of Discernment
05. Expansion And Collapse
06. Catalyst
07. Pattern Recognition
08. Renovatio
09. Centurion
10. Receiving End Of Murder
11. All Hail The End Times
12. Deep End Of Nothing
13. A Residual Haunting
Down - Down III: Over The Under
There's a lot that can be said about a band like Down and if you had hair on your testicles in the early 90's, you've probably heard it all. Still, for those out there who have just gotten back from the Trivium show; Down feature current and former members of Pantera, Corrosion Of Conformity, Crowbar and Eyehategod - four bands who inarguably ensured southern metal stayed relevant throughout the past two decades.
Over the years, and especially in recent times, the band and its members have all had their trials and tribulations. Despite their collective problems though, it is the plight of frontman Phil Anselmo, whose legendary self-destructive behavior led him from being a ferocious tattooed warrior to a self-medicated slurring mess in Pantera, that takes center stage. Now clean and humble, nearly each song sounds like a soul-bearing healing process for him and his honesty greatly extends into the boldly upfront lyrical content.
Aside from a few questionable (albeit trademark Anselmo) overdubs, backing up his raspy clean singing and gruff barks are a wealth of riffs Black Sabbath probably would have written if they grew up in the bayou, plus a hearty rhythm section that brings the southern hospitality to a head. Despite its purgative nature though, "Down III: Over The Under" doesn't come off as a sob story and it has some gratingly heavy numbers to prove it. The propulsive grooves that anchor tracks like "Pillamyd" and "Three Suns And One Star" are easily amongst the finest the band has ever written.
The road-weathered emotion tempered by numerous tragedies on hand here just can't be forced. Few bands other than Down could release an album where creativity isn't shoehorned into a record label's release schedule or disappear for five years and return stronger than all. But that's only because even fewer bands, that is if any, have a bunch of reconnected metal lifers in them ready to expunge their demons through some of the most genuine, down home rock n' roll released in years. Guess there really is some truth to the adage of old age and treachery beating out youth and skill after all.
01. Three Suns And One Star
02. The Path
03. N.O.D.
04. I Scream
05. On March The Saints
06. Never Try
07. Mourn
08. Beneath The Tides
09. His Majesty The Desert
10. Pillamyd
11. In the Thrall Of It All
12. Nothing In Return (Walk Away)
If their previous iteration as a rapcore band a few years back didn't warrant an investigation from the local scene police, then Droid should probably be free to leave their county. Now older and wiser and also the flagship act on Emotional Syphon Recordings, the label founded by Korn guitarist James "Munky" Shaffer; the group have readily developed and adjusted their sound to more modern climes.
But whether or not the band has simply been following trends or has honestly matured into the groove-laden Meshuggah-lite approach taken on this self-titled effort is really a moot point. The music itself sells the band, even more so than the innocuous guest appearance from Deftones frontman Chino Moreno on "Vengeance Is Mine". A lock-tight collection of groove-laden riffage and an equally astute rhythm section are what take center stage here.
This album readily comes off as entirely modern, consistent and punchy; pouring on pounds of heaviness with some occasional - though rarely out of character, ambient exploration. The only problem is there seems to be a rather constrained songwriting formula to the band and while the intensity is retained throughout the album, the variety and subsequently, the listeners interest is not. Aside from a harmonic riff here and there it's hard to tell the difference from one track to the next and perhaps this mechanical nature is Droid's biggest trapping.
01. The Resurrection
02. Fueled By Hate
03. God Of Anger
04. Built To Last
05. No Gods No Masters
06. Withdrawls Of Me
07. Vengeance Is Mine
08. For The Following...
09. Behind Dead Eyes
10. Salt The Graves
11. Together We Die
12. My Oath
Five Finger Death Punch - The Way Of The Fist
It was only a matter of time before glam-metal rejects started getting in on the euro nu-metalcore bandwagon. But with a line-up that consists of former members of Tuff... err W.A.S.P., Motograter, U.P.O. and sadly, the much-slept on Anubis Rising; Five Finger Death Punch's members constitute a veritable bargain bin supergroup.
Sadly the bargain bin is about where this latest album belongs too. A glossy, overly forced collection of by the numbers metalcore with nu-metal overtones and a few rock ballads, "The Way Of The Fist" is about as generic as it gets. Do we really need a big ballsy lite version of self-titled era Slipknot in 2007? Weren't there 8000 other bands doing this back when Y2K was about to wipe us all out?
Sure there's some decent riffing going on if you can get past the cheesy choruses like "step to me, step to me motherfucker! Shut your face, it's your turn to die!" But the tepid cleanly sung ballads that go on and on and toss in a few throaty screams on painfully predictable cues are unbearable. If you want a stale rehash of two trends that are already dead and dying, then here's your chance to take it on the chin. For the rest of us, this way of the fist sounds more like the way of the desperate cash-in.
(4 / 5)
01. Ashes
02. The Way Of The Fist
03. Salvation
04. The Bleeding
05. A Place To Die
06. The Devil's Own
07. White Knuckles
08. Can't Heal You
09. Death Before Dishonor
10. Meet the Monster
If metal were sports, then "Supercharger" wouldn't have been so much of a career-ending injury as much as it was Machine Head's spine shattering in about 20 places. Still, despite a murky two album trip into trend hopping, Machine Head did manage to well, trend hop back to the sound they should have never abandoned. Not surprising then that their recent success has emboldened them to take it even further with this latest outing, "The Blackening".
To say the band thickly lay on the epic Bay Area thrash here would be an understatement. Five minutes is about as short as the songs get (well technically four minutes and 50 seconds), and it's not uncommon for the nine minute to ten minute running length to be hit. During these stirring, if not long-winded forays, the band channel the spirit of their early albums ("Burn My Eyes" in particular) as best they can while adding in some substantial prog aspirations and comfortably saddled lightning rides.
But while the group easily capture the aggression and energy of their youth on this release, that's not to say it's a riveting listen from start to finish. There's gnarled riffs and solos, fantastic drumming and some brutish vocal aggression that attacks humanity and the current political clime. There's even a few soothing croons to be found as well. But as the effort continues on with breakdown after breakdown and bridge after bridge it becomes clear that Machine Head are stretching the limits of their creativity.
As much as they try to hide it, there are more than a few moments where the songs can become repetitive - a trait readily exacerbated by their marathon-like length. If that's not enough, there's also moments where some of the parts just sound forced. Sure memorable hooks and catchy riffs aren't necessary, but at least one or two would definitely help here. For the band this outing is a towering achievement - both in their technical playing and ballsy songwriting. But for the metal scene of 2007 it falls just short of hall of fame material.
Skeptics will be quick to question the bands motives on this release, especially since thrash metal has taken a turn back into the public eye. Others will view it as the group merely finding themselves and embracing their roots. However, this all remains irrelevant in the long run though. The only real issue here is that the band were perhaps just a bit too ambitious and could have greatly benefited from a slight bit of restraint as their indulgence, if not arrogance, can get the better of them. In turn "The Blackening" may once again leave eyes burning, but this vision loss is only temporary.
01. Clenching the Fists of Dissent
02. Beautiful Mourning
03. Aesthetics of Hate
04. Now I Lay Thee Down
05. Slanderous
06. Halo
07. Wolves
08. A Farewell To Arms
Sometimes the title of an album says it all. Having ended an unhappy relationship with former label Roadrunner and survived "Some Kind Of Monster"-like inner-band conflicts; Chimaira have returned with a new outlook and a renewed vitality on "Resurrection", this time with Ferret Records footing the bill. If that wasn't enough to bring a smile to their grim faces, this effort also marks the return of the bands original drummer Andols Herrick whose impressive playing provides the heavy machinery integral to support this latest undertaking.
As evidenced by the lyrical content of the album's title track and the autobiographical "Six", Chimaira have weathered some tough times and it is their sense of vindication for having come through it all that sets the tone of this record. Indulging themselves in enough ambiance and varied songwriting this time around to sidestep the metalcore heap, the group unleash an array of tracks that are experimental for the band as a whole, yet stick to a core vision.
Sure there's still heavy elements of thrash, death metal, grind and to a lesser extent even grunge; but there's also enough symphonic elements and haunting ambiance present to cater to black metal fans and a nine inch nails-reminiscent electrical overload as well. These new additions, while instantly recognizable as new ground to older fans of the band, sound mature and honest, showcasing actual growth rather than feeling like a flimsy attempt to reel in new ears.
Tack on some sharp songwriting that sees breakdowns take on a life of their own rather than give the singer an excuse to down a beer, plus the searing riffage featured on propulsive tracks like "Empire" and "Needle" and Chimaira have clearly come into their own. That's not to say they have delivered their defining album though. The track "End It All" does seem kind of weak in comparison to the other songs and there are times where the solos could be pared down length wise or some more melodic vocals could be beneficial. But as it stands, this beast of an album marks the start of what is hopefully 2007's metal (without the core) revival.
01. Resurrection
02. Pleasure In Pain
03. Worthless
04. Six
05. No Reason To Live
06. Killing The Beast
07. The Flame
08. End It All
09. Black Heart
10. Needle
11. Empire
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